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Lot 365
‡Colin Self (b.1941) Out of Focus Object and Flowers 1 (Provincial Image); Power and Beauty No.1 (Cat); Power and Beauty No.2 (Whale) Three, each signed and inscribed with title, two dated, and each inscribed Artist's proof, 3/75 and 30/75 (respectively) The first etching and aquatint; 'Cat' and 'Whale' photo-screenprints Largest 68.8 x 105.4cm; Smallest 79.4 x 56.3cm Each unframed (3)
Lot 574
DORIS TEAGUE START LIGHTHOUSE DEVON COAST watercolour 1930s 55 x 45cms together West Country Harbour watercolour, 1948, 73 x 53 cms, Renata Schmidt Broecker 'The Red Scale' watercolour, English Village Church oil on board, c1890, with an etching of Bexhill parish church, 1920s and Robinson, pair of lithographs of Paull, East Yorkshire, 1920s
Lot 29
Patrick HERON (1920-1999)Brushworks No. 8EtchingNumber 25/38Facsimile Patrick Heron signature to verso, signed by Susanna and Katharine Heron in pencilPlate size 44 x 58cm'The suite of prints from which this etching is taken is one of the last works Patrick Heron made before his death. Over a period of three months between December 1998 and March 1999, Heron worked in his studio with the printer Hugh Stoneman, making drawings for fifteen works in total, from which he selected the eleven plates that make up the portfolio. He finished the drawing for the colophon page on the morning of the day he died. Heron approved the proofs and decided on a sequence for presenting the works shortly before his death. The etchings were printed posthumously, overseen by the artist’s two daughters.' The Tate
Lot 371
Henry Pymm Drypoint Etching 'Bishop's Walk North Lambeth (from a rough sketch & description by contemporaries) the site of S.T Thomas's Hospital. Dost Thou Know the Difference (King Lear I.IV.)' Henry Pymm worked from Norwich England and produced this etchings 1880-1920's A working bookbinder of Drury Lane, and amateur draughtsman and etcher.
Lot 631
PICTURES AND CLOCKS ETC, TO INCLUDE A BILL HAWKES COASTAL LANDSCAPE, oil on board, approximate size 44cm x 91cm, artist proof aquatint etching of Windermere, Carl Holsol open edition print, Brent Hayton Parisian print, modern box canvas prints etc, Seiko Westminster chiming quartz wall clock, Lincoln quartz pendulum wall clock, Istim wall clock, quartz carriage clock and a wooden storage box etc
Lot 817
* TOM MACKENZIE (SCOTTISH 1947 - 2018),OLD MAN OF STORR IIcoloured etching on paper, signed, titled and numbered 12/75image size 45cm x 60cm, overall size 64cm x 82cm Mounted, framed and under glass.Note: Tom MacKenzie was educated at Portree High School and at 17 left home to enrol at Duncan of Jordanstone School of Art in Dundee. This did not work out and after a year he went to London. His pursuit of art continued at evening classes in life drawing while working in a variety of jobs by day. In 1976 he moved back to Scotland, joining a team of many talents at the Glasgow Print Studio. John Taylor, a colleague and long-time friend, says: "Tom MacKenzie’s art was made from the Isle of Skye’s unique cornucopia of visual riches: the huge, notched and jagged coastline; sea lochs with many rocky islands; the Cuillins, the most awesome mountains in Britain." Living and working on the lovely Isle of Skye, Tom MacKenzie was renowned for his wonderful colour etchings of the island and the West Coast of Scotland. These large and very stylish etchings are appreciated and collected worldwide. Working from his studio and workshop in Portree, the island’s capital, Mackenzie used three steel plates to produce his etchings and limited the editions to 75 or less, printed on 300gm, Arches waterleaf paper. He was a very popular figure in Portree where he lived and worked and a much-respected artist throughout Scotland and far beyond.
Lot 287
DMITRI PLAVINSKY (RUSSIAN 1937-2012),Flora and Fauna (Spiderweb),1969etchingplate mark: 62 x 49 cm (24 3/8 x 19 1/4 cm)signed and dated lower right in pencilPROVENANCESDZY Soderberg Dzubinsky Gallery, New YorkEstate of the purchaserCONDITIONObserved in frame, the etching appears in good condition. Overall creasing visible in frame. With no significant issues to report otherwise.framed dimensions: 96 x 80 cm (37 3/4 x 31 1/2 in.)Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 288
DMITRI PLAVINSKY (RUSSIAN 1937-2012),Overgrown Mill,1972etching plate mark: 48 x 64 cm (18 7/8 x 25 1/4 in.)signed lower right, monogrammed and dated in plate lower left in pencil PROVENANCESDZY Soderberg Dzubinsky Gallery, New YorkEstate of the purchaserCONDITIONObserved in frame, the etching appears in good condition. Very minor waviness visible in frame. With no significant issues to report otherwise.framed dimensions: 81 x 96 cm (31 7/8 x 37 3/4 in.)Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 780
DAVID SALLE (AMERICAN B. 1952)Until Photographs Could be Taken from the Earth Satellites,1981aquatint with soft ground etching on Rives B.F.K. paper75.6 x 101.6 cm (29 3/4 x 40 in.)out of an edition of 10, with 10 artist's proofsPROVENANCEPace Editions, New YorkAcquired at the above by the present ownerCONDITIONObserved in frame, the work appears in good condition. A slight waviness visible to the top edge of the work. No significant issues to report otherwise. Not inspected under UV light.framed dimensions: 94 x 125 cm (37 x 49 1/4 in.)Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 290
DMITRI PLAVINSKY (RUSSIAN 1937-2012),Ancient City ,1973etchingplate mark: 31 x 31 cm (12 1/4 x 12 1/4 in.)signed and dated lower right, inscribed with edition 4/20 lower left all in pencilCONDITIONObserved in frame, the work appears in good condition. Scattered fly specks most notably along the lower edge. The sheet with a slight waviness visible in frame. Otherwise no significant issues to report.framed dimensions: 62 x 61 cm (24 3/8 x 24 in.)Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 783
A GROUP OF NINE ETCHINGS BY REUBEN NAKIAN (AMERICAN 1897-1986)comprising: a) Nude, lithograph, 57 x 76 cm (22 1/2 x 29 7/8 in.) [full sheet], inscribed BAT lower left, signed lower right b) Group of 8 Etchings, etching on villet press HMK paper, 34 x 54 cm (13 3/8 x 21 1/4 in.) [full sheet], 12 x 34 cm (4 3/4 x 13 3/8 in.) [plate], each with edition 62/75 lower left, signed lower rightCONDITIONObserved in frame, overall the group appears in age-appropriate condition. Each with a slight waviness to the sheet. Minor toning visible to perimeter of some but not all. No significant issues to report otherwise.framed dimensions: 76 x 96 cm (29 7/8 x 37 3/4 in.) [largest], framed dimensions: 39 x 59 cm (15 3/8 x 23 1/4 in.) [small]Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 270
VLADIMIR YANKILEVSKY (RUSSIAN 1938-2018)From the series "City-Mask" No. 14,1973etchingplate mark: 22 x 29 cm (8 5/8 x 11 1/2 in.)signed and dated lower right, titled and inscribed with numerals 14 and III lower left all in pencilPROVENANCESDZY Soderberg Dzubinsky Gallery, New YorkEstate of the purchaserCONDITIONObserved in frame, the etching appears in good condition. With no apparent issues visible to the naked eye, no significant issues to report.framed dimensions: 51 x 58 cm (20 1/8 x 22 7/8 in.)Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 292
DMITRI PLAVINSKY (RUSSIAN 1937-2012),Izba with Owl,circa 1968etchingplate mark: 44.5 x 58.5 cm (17 1/2 x 23 in.)signed lower right in pencil PROVENANCESDZY Soderberg Dzubinsky Gallery, New YorkEstate of the purchaserCONDITIONObserved in frame, the etching appears in great condition. No apparent issues visible to the naked eye, with no significant issues to report.framed dimensions: 74 x 87 cm (29 1/8 x 34 1/4 in.)Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 291
DMITRI PLAVINSKY (RUSSIAN 1937-2012),Labyrinth,1975etchingplate mark: 40 x 32 cm (15 3/4 x 12 5/8 in.)signed and dated lower right, inscribed with edition number 6/20 lower left all in pencil PROVENANCESDZY Soderberg Dzubinsky Gallery, New YorkEstate of the purchaserCONDITIONObserved in frame, the etching appears in good condition. Scattered fly specks, most notably along the lower edge. The sheet with a slight waviness visible in frame. Otherwise no significant issues to report.framed dimensions: 70 x 61 cm (27 1/2 x 24 in.)Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 289
DMITRI PLAVINSKY (RUSSIAN 1937-2012),Tree Among Ruins,1972etchingplate mark: 87 x 59 cm (34 1/4 x 23 1/4 in.) signed and dated in plate lower right, signed and dated lower right, inscribed with edition 9/30 lower left all in pencilPROVENANCESDZY Soderberg Dzubinsky Gallery, New YorkEstate of the purchaserCONDITIONObserved in frame, the etching appears in good condition. Overall creasing and waviness visible to the sheet in frame. With no significant issues to report otherwise.framed dimensions: 118 x 90 cm (46 1/2 x 35 3/8 in.)Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 49
Ben Nicholson (1894 Uxbridge - 1982 London) (F)'Still Life with Curves', Radierung auf Velin, 42,5 cm x 37,7 cm Blattmaß, 32 cm x 26,5 cm Plattenmaß, signiert, 65 datiert, 35/50 nummeriert, Trockenstempel Marlborough Fine Art, minimal stockfleckig, montiertLiteratur: Wvz. Lewison 107, Lafranca 13Ben Nicholson wurde 1894 in Buckinghamshire in eine Familie von Künstlern geboren. Er besuchte 1910 für ein Jahr die Slade School of Fine Art, wo er laut seines Mitstudenten Paul Nash mehr Zeit mit Billardspielen als mit der Malerei verbrachte, da ihm die Bewegung der Bälle auf dem grünen Filz mehr ästhetischen Reiz boten als der Unterricht. Dicht vernetzt mit der Kunstwelt Europas, traf er in London die Bildhauer Barbara Hepworth und Henry Moore und in Paris den Pionier der Abstraktion Piet Mondrian. In seinem Werk schaffte er es, die unterschiedlichsten Ströme der Kunst seiner Zeit zu einem einzigartigen Stil zu vereinen. Ben Nicholson (1894 Uxbridge - 1982 London) (F)'Still Life with Curves', etching on wove, 42.5 cm x 37.7 cm sheet size, 32 cm x 26.5 cm plate size, signed, dated 65, numbered 35/50, with blindstamp of Marlborough Fine Art, slight foxmarks, mountedLiterature: Cat. rais. Lewison 107, Lafranca 13Ben Nicholson was born in Buckinghamshire in 1894 into a family of artists. He attendedthe Slade School of Fine Art for a year in 1910, where, according to fellow student Paul Nash, he spent more time playing billiards than painting, as the movement of the balls on the green felt appealed more to his aesthetic sensibilities than the lessons. Highly connected with the art world of Europe, he met the sculptors Barbara Hepworth and Henry Moore in London and the pioneer of abstraction Piet Mondrian in Paris. In his work he managed to unite the diverse streams of the art world of his time into a unique style.
Lot 20
Pablo Picasso (1881 Malaga - 1973 Mougins) (F)'Bathseba' (Bethsabée), Farbaquatintaradierung auf BFK-Rives, ca. 1960, 45 cm x 56 cm Blattmaß, 26 cm x 36,8 cm Plattenmaß, 29/300 nummeriert, signiert, mit Trockenstempel 'Atelier Crommelynck Paris', leicht gewellt, obere Kante minimal knickfaltig, Papier am Rand minimal fleckig, minimal stockfleckig, Kaufbeleg anbeiProvenienz: Galerie Brusberg, Privatsammlung HannoverLiteratur: Online-Picasso Project, Sam Housten State University, OPP 66:017."Jeder Maler hält sich für Rembrandt." (Pablo Picasso, in: Gilot, Françoise/Lake, Carlton, Life with Picasso, 1964, S. 51)Die Darstellung nach einer Geschichte aus dem Alten Testament zeigt die nackte Bathseba auf einer Bettstatt sitzend. In der Hand hält sie den Brief König Davids, in dem er ihr seine Liebe und Heiratsabsicht bekundet. Eine ähnliche Zeichnung zum Bathseba-Motiv mit dem Titel "Seated Nude and Another Figure" (Sitzender Akt mit weiterer Figur) aus dem Jahr 1963 zeigt bereits eine vorbereitende Beschäftigung mit dem Thema. Picasso bezieht sich in der Komposition auf das Bathseba-Gemälde Rembrandts, dessen Oeuvre eine seiner Inspirationsquellen darstellte. In seinem Atelier in Mougins besaß er zahlreiches Material zu Rembrandt, darunter das mehrbändige Werk von Otto Benesch. Die Aquatintaradierung wurde in einer nummerierten Auflage von 300 Exemplaren von der Pariser Druckerei Crommelynck herausgegeben, die 1963 eigens eine Druckwerkstatt in Mougins eingerichtet hatte, um Picassos berühmte 347er Serie direkt an Ort und Stelle drucken zu können. Pablo Picasso (1881 Malaga - 1973 Mougins) (F)'Bathseba' (Bethsabée), aquatint etching in colours on BFK Rives, ca. 1960, sheet size 45 cm x 56 cm, plate size 26 cm x 36.8 cm, numbered 29/300, signed, with drystamp of 'Atelier Crommelynck Paris', slightly cockled, the upper edge slightly creased, the margins of the sheet with some minor staining, slight foxing, with purchase receiptProvenance: Galerie Brusberg; private collection, HanoverLiterature: Online Picasso Project, Sam Housten State University, OPP 66:017.''Every painter thinks of himself as Rembrandt.'' (Pablo Picasso, in: Gilot, Françoise/Lake, Carlton, Life with Picasso, 1964, p. 51)The depiction, based on a story from the Old Testament, shows the naked Bathsheba sitting on a bed. In her hand she holds King David's letter in which he professes his love and intention to marry her. A similar drawing to the Bathsheba motif titled ''Seated Nude and Another Figure'' from 1963 already shows a preparatory preoccupation with the subject. In the composition, Picasso refers to the Bathsheba painting by Rembrandt, whose oeuvre was one of his sources of inspiration. In his studio in Mougins, he had numerous materials on Rembrandt, including the multi-volume work of Otto Benesch. The aquatint etching was published in a numbered edition of 300 copies by the Paris printing house Crommelynck, which had set up a printing workshop in Mougins in 1963 especially to be able to print Picasso's famous 347 series directly on the spot.
Lot 35
Paul Wunderlich (1927 Eberswalde - 2010 Saint-Pierre-de-Vassols, Provence) (F)Frau mit Schwan, Hinterglasbild, 50 cm x 32,5 cm, monogrammiert, signiert, 62 datiert. Paul Wunderlich schuf in den Jahren 1961-1963 in Paris mehrere Hinterglasbilder. (Vgl. Wvz. Jensen 87-90)Provenienz: Privatsammlung Hannover"Seine Werke werden in der ganzen Welt anerkannt, geschätzt, auch von einem breiten Publikum gekauft", rühmt Jens Christian Jensen den Künstler, "Kunstkenner sind sich einig: Paul Wunderlich ist der Hauptmeister des phantastischen Realismus und einer der wenigen stilbildenden Künstler unserer Zeit." Paul Wunderlich wurde am 10. März 1927 in Eberswalde geboren und zählt als Maler, Bildhauer, Grafiker, Entwerfer von Objektkunst und sogar Möbeln zu den produktivsten Künstlern des 20. Jahrhunderts. Von 1947 bis 1951 studierte er an der späteren Hochschule für Bildende Künste in Hamburg in der Klasse von Willi Tietze "Freie Graphik". Dort traf er unter anderem auf seine Mitschüler Horst Janssen und Reinhard Drenkhahn.1950 studierte er für ein Semester bei Willem Grimm. Anschließend unterrichtete er von 1951 bis 1960 an der Hochschule Radierung und Lithografie. Er erhielt sowohl von Emil Nolde als auch Oskar Kokoschka Druckaufträge. Von 1961 bis 1963 lebte und arbeitete Wunderlich in Paris. In diesen Jahren erprobte er sich an Hinterglasbildern. Anschließend trat er in Hamburg die Nachfolge von Georg Gresko als Professor an der Kunsthochschule an.In den 1960er-Jahren experimentierte Wunderlich mit unterschiedlichen Techniken und entwickelte seinen unverwechselbaren Stil, in dem sich manieristische und surrealistische, aber auch Elemente des Jugendstiles und des Art-Déco wiederfinden. Er gestaltete surreale Figuren mit ungleichen Proportionen und nahm häufig berühmte Motive der klassischen Kunst und Mythologie zum Vorbild. Zunächst bezog er seine Themen aus der Deutschen Geschichte. Später konzentrierte er sich vermehrt auf erotische und sexuelle Motive. Unter dem Einfluss Salvador Dalís begann er mit der Fertigung von Bronzen.In einem schwarzen Raum mit wasserblauem Boden stehen wie in einem symbolträchtigen Albtraum eine anthropomorphe, fleischfarbene Form mit zwei Beinen und ein nur konturierter Schwan mit überlangem Hals. Die in Paris zu Beginn der 1960er Jahre entstandene Hinterglasmalerei zählt zu einer Serie von neosurrealistischen Schreckensbildern mit grotesken Motiven von Eros und Tod. Paul Wunderlich (1927 Eberswalde - 2010 Saint-Pierre-de-Vassols, Provence) (F)Female figure with swan, reverse glass painting, frame inner dimensions 50 cm x 32.5 cm, monogrammed, signed, dated 62; Paul Wunderlich created several reverse glass paintings in Paris from 1961-1963 (cf. cat. rais. Jensen 88-90)Provenance: Private collection, HanoverPaul Wunderlich was born in Eberswalde on 10th March 1927. As a painter, sculptor, graphic artist, designer of object art and even furniture, he was one of the most productive artists of the 20th century. From 1947 to 1951, he studied ''Freie Graphik'' at the later Hochschule für Bildende Künste in Hamburg in Willi Tietze's class. There he met, among others, his fellow students Horst Janssen and Reinhard Drenkhahn. In 1950 he studied with Willem Grimm for one semester. He then taught etching and lithography at the university from 1951 to 1960. He received printing commissions from both Emil Nolde and Oskar Kokoschka. From 1961 to 1963 Wunderlich lived and worked in Paris. During these years he tried his hand at reverse glass paintings. He then succeeded Georg Gresko as professor at the art academy in Hamburg.In the 1960s, Wunderlich experimented with different techniques and developed his unmistakable style, which combined Mannerist and Surrealist influences, but also elements of Jugendstil and Art Deco. He created surreal figures with elongated proportions, and often took famous motifs from classical art and mythology as models. Initially, he drew his themes from German history. Later he concentrated increasingly on erotic and sexual motifs. Under the influence of Salvador Dalí, he also began to produce bronzes.In a black room with a watery blue ground, an anthropomorphic, flesh coloured form with two legs stands beside the outline of a long necked swan like two figures from a nightmare laden with arcane symbolism. Wunderlich's reverse glass paintings, created in Paris in the early 1960s, belong to a series of unsettling Neo-Surrealist pictures with grotesque motifs centring around the motifs of Eros and death.
Lot 95
Arnulf Rainer (1929 Baden bei Wien) (F)'Violette Zudeckung', Farbradierung auf BFK-Rives, 1971, 63 cm x 45 cm Blattmaß, 40 cm x 27,8 cm Plattenmaß, signiert, 26/100 nummeriert, leicht gewellt, minimal knickfaltig, partiell leichte GriffspurenLiteratur: Wvz. Breicha R 167Der österreichische Maler Arnulf Rainer ist bekannt für seine in den 1950er Jahren entwickelten "Übermalungen", in denen eigene und fremde Fotos, Illustrationen oder manchmal ganze Blätter mit Farbe überdeckt wurden. Rainer war einer der Hauptbegründer des Wiener Informell, unterhielt aber auch regen Kontakt zu den Künstlern der Wiener Schule des Phantastischen Realismus wie Ernst Fuchs, Anton Lehmden und Arik Brauer. In seiner gesamten Karriere widmete er sich der Suche nach neuen Ansätzen in der Malerei und mit seinen innovativen und gleichzeitig provokativen Arbeiten sicherte er sich seinen Ruhm auf dem internationalen Kunstmarkt. Arnulf Rainer (1929 Baden near Vienna) (F)'Violette Zudeckung', etching in colours on BFK-Rives, 1971, sheet size 63 cm x 45 cm, plate size 40 x 27.8 cm, signed, numbered 26/100, slightly cockled, minor creases and with minor handling dentsLiterature: cat. rais. Breicha R 167The Austrian painter Arnulf Rainer is known for his ''overpaintings'' developed in the 1950s, in which he covered his own and other people's photographs, illustrations or sometimes entire sheets of paper with colour. Rainer was one of the main founders of Viennese Informalism, but also maintained active contact with the artists of the Viennese School of Fantastic Realism such as Ernst Fuchs, Anton Lehmden and Arik Brauer. Throughout his career he devoted himself to the search for new approaches to painting, and his innovative, provocative works secured his fame in the international art world.
Lot 24
Marc Chagall (1887 Witebsk - 1985 Paul de Vence) (F)'Les amoureux sous l'arbre', Aquatintaradierung auf Velin, 1967, 32 cm x 40,5 cm Blattmaß, 19 cm x 24 cm Plattenmaß, signiert, 25/35 nummeriert, mit Wasserzeichen des Künstlers Hand mit ZweigProvenienz: Sammlung Haas, EssenLiteratur: Wvz. Cramer 15"Seit meiner Kindheit bin ich von der Bibel besessen. (...) Stets habe ich ihrem Niederschlag im Leben und in der Kunst nachgespürt. (...) Sind nicht Farbe und Malerei inspiriert durch Liebe? (...) Innerhalb dieser Liebe liegt die Logik des Lebens begründet." (Marc Chagall, in: The Biblical Message, 1973, zit. n.: Harshav, Benjamin: Marc Chagall on Art and Culture, Stanford 2003, S. 172f.)Liebespaare ziehen sich wie ein roter Faden durch das Werk Chagalls. Unzählige Bildtitel mit dem Begriff "les amoureux / die Liebenden" führen zurück auf die intensive Auseinandersetzung des Künstlers mit dem Alten Testament. Das Hohelied Salomos, eine Sammlung von Liebesliedern, war für Chagall ein Schlüsseltext, der ihn zeitlebens zu Bildschöpfungen um das Thema menschlicher Existenz, Beziehung und Liebe anregte. Das Blatt "Liebende unter dem Baum" ist in niedriger Auflage von 35 nummerierten Exemplaren wesentlich seltener als eine weitere Komposition, die 1968 unter demselben Bildtitel in einer schwarzweiß und einer Farbauflage erschien. Eigentlich liegt das Paar unter einem Esel, ebenfalls ein häufiges Motiv Chagalls, während ein Violinspieler rechts unter dem Baum ein Liebeständchen bringt. Marc Chagall (1887 Witebsk - 1985 Paul de Vence) (F)'Les amoureux sous l'arbre', aquatint etching on wove, 1967, sheet size 32 cm x 40.5 cm, plate size 19 cm x 24 cm, signed, numbered 25/35, with the artist's watermark (hand holding a branch)Provenance: Haas collection, EssenLiterature: Cat. rais. Cramer 15"I’ve been obsessed with the Bible since I was a child. (…) I have always felt its presence in life and in art. (…) Aren’t colour and painting inspired by love? (…) Within this love lies the logic of life." (Marc Chagall, in: The Biblical Message, 1973, cited from: Harshav, Benjamin: Marc Chagall on Art and Culture, Stanford 2003, p. 172f.)Lovers are a constantly reoccuring motif in Marc Chagall’s works. Countless work titles featuring the term "les amoureux / the lovers" testify to his reception of the Old Testament. The Song of Songs, a collection of love poetry, was a key text for Chagall that inspired him to create works dealing with the themes of human existence, relationships and love throughout his life. The print "Les amoreaux sous l’arbre" was published in a small edition of 35 numbered copies and is thus much more seldom than the other composition with the same title printed in a black and white and a colour edition in 1968. The couple is actually depicted beneath a donkey, another of Chagall’s reoccurring motifs, whilst a violist plays a serenade beneath the tree on the right.
Lot 23
Joan Miró (1893 Barcelona - 1983 Palma de Mallorca) (F)Incertitude prolongée aus 'Hommage à Lazzaro', Farbaquatintaradierung auf Papier, 1977, 43,5 cm x 32,5 cm Passepartoutinnenmaß, 34 cm x 24,5 cm Plattenmaß, signiert, 5/15 nummeriert, an den Rändern vergilbt, minimal gewellt, Kaufbeleg anbeiProvenienz: Orangerie Reinz, Köln 1978Literatur: Cramer 229, Dupin 985Miro schuf die Folge von Grafiken als Hommage an den drei Jahre zuvor verstorbenen italienischen Kunstschriftsteller Gualtieri di San Lazzaro (1904-1974), der 1938 die berühmte Kunstzeitschrift XXe Siècle (20. Jahrhundert) begründete. San Lazzaro publizierte darin nicht nur hochwertige Abbildungen, sondern in jeder Ausgabe auch Originalgrafiken als Beilagen, unter anderem von Joan Miro. Die Blätter Nr. 7 'L'ultime ménace' und Nr. 8 'Incertitude prolongée' der Hommage sind von großer Seltenheit, weil sie nicht in der gesamten Auflage der Edition enthalten sind, sondern nur in 15 nummerierten Exemplaren existieren. Sie werden daher auch als "die letzten beiden Radierungen" bezeichnet. Joan Miró (1893 Barcelona - 1983 Palma de Mallorca) (F)Incertitude prolongée from 'Hommage à Lazzaro', aquatint etching in colours on paper, 1977, mat inner dimensions 43.5 cm x 32.5 cm, signed, numbered 5/15, margins age toned, slightly cockled, with purchase invoiceProvenance: Orangerie Reinz, Cologne, 1978Literature: Cramer 229, Dupin 985Miro created this sequence of prints as a tribute to the Italian art writer Gualtieri di San Lazzaro (1904-1974), who had died three years previously. San Lazaro founded the famous art magazine XXe Siècle (20th Century) in 1938, which published not only high-quality illustrations, but also original graphics as inserts in each issue, including works by Joan Miro. The sheets no. 7 'L'ultime ménace' and no. 8 'Incertitude prolongée' of the Hommage are exceedingly rare because they were not included in every copy the edition, but only in 15 numbered copies. They are therefore also referred to as ''the last two etchings''.
Lot 27
Antoni Tàpies (1923 Barcelona - 2012 ebenda) (F)Aus der 'Suite Catalana', 2-tlg., Farbaquatintaradierung auf Bütten, 1972, 76 cm x 100 cm Blattmaß, je signiert, 41/75 nummeriert, leicht gewellt, partiell knickfaltig, minimal fleckigAntoni Tàpies wurde am 13. Dezember 1923 in Barcelona geboren und zählt zu den bedeutendsten Künstlern und den wichtigsten Vertretern des Informel Spaniens. Der Maler, Grafiker und Objektkünstler interessierte sich schon früh für Kunst, widmete sich der Malerei jedoch erst vollends nach Abbruch seines Jurastudiums 1946. Der autodidaktische Künstler folgte zuerst den Werken von Vincent van Gogh und Pablo Picasso. Später orientierte er sich zunehmend an den surrealistischen Arbeiten von Joan Miró, Paul Klee und Max Ernst. 1948 begründete er die Gruppe "Dau al Set" mit. Nach seinem Paris-Stipendium im Jahr 1950 begann Tàpies sich mit den Strukturen unterschiedlicher Materialien auseinanderzusetzen und sich in seinen malerischen Ausdrucksmitteln auf das Essenzielle zu beschränken. Ab 1959 begann er mit der Fertigung von Druckgrafiken, insbesondere von Lithografien. Tàpies hatte internationalen Erfolg und wurde unter anderem auf der documenta II, III, IV und VI in Kassel (1959-1977) ausgestellt, sowie mehrfach auf der Biennale von Venedig.Die Auseinandersetzung des Künstlers mit seinem Heimatort Katalonien war immer eine wichtige thematische Quelle im Werk von Tàpies. In der im Jahr 1972 zusammen mit Gustavo Gili aus Barcelona veröffentlichte Suite Catalana verwendet er die Formen und Farben der katalanischen Flagge um eine kraftvolle visuelle Darstellung von Emotionen und Protest zu schaffen. Antoni Tàpies (1923 Barcelona - 2012 ibid) (F)From the 'Suite Catalana', 2 pieces, aquatint etching in colours on laid paper, 1972, sheet size 76 cm x 100 cm, each signed, numbered 41/75, slightly cockled, creased, and stainedAntoni Tàpies was born on 13th December 1923 in Barcelona and was one of the most important artists, as well as the most important representatives of the Informel movement, in Spain. The painter, graphic artist and sculptor showed an interest in art from an early age, but only devoted himself fully to painting after dropping out of his law studies in 1946. The self-taught artist first followed the works of Vincent van Gogh and Pablo Picasso. Later he increasingly oriented himself towards the surrealist works of Joan Miró, Paul Klee and Max Ernst. In 1948 he co-founded the group "Dau al Set". After his Paris fellowship in 1950, Tàpies began to explore the structures of different materials and to limit his painterly means of expression to the essential. In 1959 he began to produce prints, especially lithographs. Tàpies enjoyed international success and was exhibited at documenta II, III, IV and VI in Kassel (1959-1977), among many other shows, as well as several times at the Venice Biennale.The artist's preoccupation with his native Catalonia has always been an important thematic source in Tàpies' work. In Suite Catalana, published in 1972 with Gustavo Gili from Barcelona, he uses the shapes and colours of the Catalan flag to create a powerful visual representation of emotion and protest.
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