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Click here to subscribeMiro, Joan(Barcelona 1893–1983 Mallorca)Aus: "Joan Miro - Der Lithograph II". 1975. Farblithographie. LXXI/LXXX. Unten rechts in Bleistift signiert. Blattgrösse 45x36,5 cm. Gerahmt.- Blatt gebräunt. Hellerer Lichtrand. Minimst fleckig. Farben verblast. Verso am oberen Rand an Passepartout montiert.
TARZAN (1999) - Phil Collins, Minnie Driver, and Tony Goldwyn-Signed Framed "Discovery Of Love" Character Sericel No. 131/375 with Lithograph BackgroundA Phil Collins, Minnie Driver, and Tony Goldwyn-signed framed "Discovery of Love" character sericel based on Kevin Lima and Chris Buck's animated adventure Tarzan. This piece, titled "Discovery of Love," consists of sericel images by Walt Disney Studios artists featuring a Disney seal, "131/375" edition number, and a lithograph background. The gold-color frame features a white mat signed by songwriter Collins, Goldwyn (Tarzan), and Driver (Jane), a barcode, a Disney Enterprises, Inc. Certificate of Authenticity, and a hanging wire. It exhibits a missing rear felt piece. Dimensions: 27" x 21" x 1.5" (68.75 cm x 53.5 cm x 4 cm)Sold without copyright; see notice in the Buyer's Guide. Estimate: $200 - 300This lot will be auctioned on Friday, June 24th. The auction will begin at 8:00am PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Tuesday, June 21st; Wednesday, June 22nd; or Thursday, June 23rd.
WHO FRAMED ROGER RABBIT (1988) - Charles Fleischer-Signed Framed "Framed Again" Hand-Painted Character Sericel No. 5/250 with Lithograph BackgroundA Charles Fleischer-signed framed "Framed Again" hand-painted character sericel based on Robert Zemeckis' neo-noir film Who Framed Roger Rabbit. This piece, titled "Framed Again," consists of sericel images by Walt Disney Studios artists featuring a Disney seal, "5/250" edition number, and a lithograph background. The brown wooden frame features a white mat signed by Charles Fleischer (Roger Rabbit), a Disney Enterprises, Inc. Certificate of Authenticity, and a hanging wire. The frame's paper rear exhibits some scuffing. Dimensions: 26" x 27" x 2" (66.25 cm x 68.75 cm x 5.25 cm) Sold without copyright; see notice in the Buyer's Guide. Estimate: $200 - 300This lot will be auctioned on Friday, June 24th. The auction will begin at 8:00am PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Tuesday, June 21st; Wednesday, June 22nd; or Thursday, June 23rd.
VARIOUS PRODUCTIONS - J.W. Rinzler Collection: Mitch Hallock-Signed Tatooine Comics Litho and Ryan Church-Signed War of the Worlds Concept Art Litho with Rick Baker and Indiana Jones Book Printer's ProofsTwo hand-signed lithographs with two printer's proofs for books by Lucasfilm historian J.W. Rinzler. This set consists of a glossy color Tatooine Comics lithograph signed in black marker and dated "2013" by Mitchell Hallock; a glossy color lithograph of concept artwork made by Ryan Church for Steven Spielberg's War of the Worlds signed in black marker and inscribed "To Jonathan" by Church; a printer's proof for the cover of Rinzler's book Rick Baker: Metamorphosis; and a printer's proof for the front cover of Rinzler's book Indiana Jones and the Mystery of Mount Sinai signed in black marker and inscribed "Thanks for everything Jonathan!" by cover artist Greg Knight. The set exhibits some fading to the ink and bending around the edges. Dimensions: 17.25" x 30" (44 cm x 76.25 cm)This lot comes from the collection of Lucasfilm historian J.W. Rinzler. Estimate: $100 - 150This lot will be auctioned on Friday, June 24th. The auction will begin at 8:00am PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Tuesday, June 21st; Wednesday, June 22nd; or Thursday, June 23rd.
DARK CRYSTAL, THE - Press Book, Screener Card and LithographPress book, screener card and lithograph from the promotion of Jim Henson and Frank Oz's fantasy adventure The Dark Crystal. Belt buckles were gifted to crew members. This lot consists of a plastic, spiral-bound paper promotional book containing production art and images from the film; a glossy color screener card; and a color promotional lithograph by artist Brian Froud. It exhibits wear on the corners of the lithograph and some folding on the screener card. Dimensions: (largest) 12" x 9" (30.5 cm x 23): (smallest): 11.5" x 8.25" (29.25 cm x 21)Sold without copyright. See notice in the Buyers Guide. Estimate: $400 - 600This lot will be auctioned on Friday, June 24th. The auction will begin at 8:00am PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Tuesday, June 21st; Wednesday, June 22nd; or Thursday, June 23rd.
Original Titanic PlanThis is a rare piece. Original Titanic site navigation plans, found in an old Harland and Wolff tradesman?s box that was passed down to a descendent from Robert Falconer Keith, the man who launched the Titanic. The box sat for many decades unopened and emerged during a clear-out. In amongst old tools was the Titanic plans, with the lovely patina from daily use by tradesmen.These were plans issued to the workers on the Titanic so they could find their way around the ship while they were working on it. As the ship was not named at the time there is no name on the plansThe plan would be a Gel-Lithograph copy of the original plan thus the red outlines, the condition is as you would expect for something that was carried around in a toolbox and used by workmen to find their way around. Plenty of good wear and tear but still intact and in good condition. As a working navigation plan this has much more character than the standard plans.A rare chance to own a piece of history, this plan almost certainly has been on the Titanic as it was used on the ship to navigate around the hull.
JOAN MIRÓ I FERRÁ (Barcelona, 1893 - Palma de Mallorca, 1983)."Oiseau devant le soleil, 1961.Lithograph glued on cardboard, H.C. copy.Signed and justified by hand.Ed. Maeght, Paris.Size: 84 x 37 cm; 103 x 56,5 cm (frame).In Miró's iconography, birds seal the union between the sky and the earth, just as the sun and the moon form two complementary realities (light and darkness, day and night, masculine and feminine).Joan Miró trained in Barcelona, between the Escola de la Lonja and the Galí Academy. As early as 1918 he held his first exhibition at the Galerías Dalmau in Barcelona. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. There, under the influence of the surrealist poets and painters, he gradually matured his style; he tried to transpose surrealist poetry to the visual, based on memory, fantasy and the irrational. From this point onwards his style began to evolve, leading him to more ethereal works in which organic forms and figures were reduced to abstract dots, lines and patches of colour. In 1924 he signed the first Surrealist manifesto, although the evolution of his work, which is too complex, makes it impossible to ascribe him to any particular orthodoxy. His third exhibition in Paris in 1928 was his first great triumph: the Museum of Modern Art in New York acquired two of his works. He returned to Spain in 1941, and that same year the museum devoted a retrospective to him which was to be his definitive international consecration. During the 1950s he experimented with other artistic media, such as engraving, lithography and ceramics. From 1956 until his death in 1983, he lived in Palma de Mallorca in a sort of internal exile, while his international fame grew. Throughout his life he received numerous awards, such as the Grand Prizes at the Venice Biennale in 1954 and the Guggenheim Foundation in 1959, the Carnegie Prize for Painting in 1966, the Gold Medals of the Generalitat de Catalunya (1978) and of the Fine Arts (1980), and was named Doctor Honoris Causa by the universities of Harvard and Barcelona. Today his work can be seen at the Joan Miró Foundation in Barcelona, inaugurated in 1975, as well as in major contemporary art museums around the world, such as the Thyssen-Bornemisza, the MoMA in New York, the Museo Reina Sofía in Madrid, the National Gallery in Washington, the MNAM in Paris and the Albright-Knox Art Gallery in Buffalo.
JUAN GENOVÉS (Valencia, 1930 - Madrid, 2020).Untitled.Lithograph, copy 25/75.Signed and justified by hand.Size: 65 x 81 cm; 69 x 84,5 cm (frame).One of the main exponents of the social-critical realism of the fifties, Juan Genovés trained at the Valencia School of Fine Arts and in 1955 he made his first trip to Paris. Over time his art would evolve along the lines of existentialism. A founding member of various groups, such as Los Siete, Parpalló and Hondo, after his 1965 exhibition at the Biblioteca Nacional, his so-called "political realism" made him a committed defender of freedom. His vision makes him truly unique; the human figure is always the protagonist, both in its presence and its absence and even in its shadows, in which all the dreamlike charge of existential anguish resides. Genovés starts from a photographic approach, looking for a constant transformation of the perspective of the motif, of the point of view. With this change of perspective the author brings us closer to or further away from the scene, looking for the movement of the masses guided by the collective, working class intelligence that gives transcendence to the meaninglessness of individual experience and makes evident the loneliness, manipulation and injustice that human beings are exposed to. The artist criticises the mass culture that fosters competitiveness, consumerism, individuality and the loss of social values. Expressive in his use of pictorial formats and materials in contrast to the forcefulness of his subject matter, Genovés is symbolist in his composition and rhythms. In his work he constantly questions the freedom of man in today's society as well as his own freedom within his own production. More well known abroad than in our country, he has participated in numerous biennials such as the Hispano-American Biennials in Havana and Barcelona, the Paris Biennial and the World's Fair in New York. In 1994 the IVAM dedicated an important retrospective exhibition to him. He has had solo exhibitions all over Spain as well as in Puerto Rico, Rio de Janeiro, Lisbon, Rome, New York, Tokyo, Turin, Berlin, Montreal, Zurich, Bogota and Paris.Juan Genovés is present in the IVAM in Valencia, the Museo Nacional Centro de Arte Reina Sofía, the Juan March Foundation, the Centre National d'Art Contemporain in Paris, the MOMA in New York and the La Caixa, Argentaria and Thyssen-Bornemisza collections.
PABLO PICASSO (Malaga, 1881 - Mougins, France, 1973)."Colombe volant à l'Arc-en-ciel", 1952.Colour lithograph, copy 129/200.Signed and justified by hand. Signed and dated on plate.Size: 54 x 77 cm; 68 x 96,5 cm (frame).Original lithograph, signed by Picasso. It represents a dove flying in front of the rainbow, a motif from 1952 that would be used as a symbol of peace against the Franco regime. The dove of peace motif appeared in Picasso's work after the Second World War. Just as in another well-known Picasso image from 1961, the biblical symbol of the dove with an olive branch in its beak appears here flying over a rainbow sky. In Genesis we are told of the appearance of the dove with an olive branch to Noah to symbolise the return of universal peace, the end of the floods. Picasso took up this symbol in a series of drawings of doves. One of them was used for the poster announcing the World Congress of Partisans for Peace. In February 1949, Louis Aragon went to Picasso's Paris studio to select a drawing for the congress, which was to be held in Paris in April of the same year. "La colombe", a blue pencil drawing on paper, was the chosen motif and the image quickly became known as "The Dove of Peace". On 19 April 1949 his second daughter was born, on the opening day of the Peace Congress, and he decided to name her Dove after the symbol he created for the posters that appeared all over the streets of Paris.The creator of Cubism together with Braque, Picasso's painting was a turning point in the history of art. He began his studies in 1895 at the Provincial School of Fine Arts in Barcelona, and only two years later he held his first solo exhibition at the café "Els Quatre Gats". After several short stays in Paris, Picasso settled permanently in the French capital in 1904. After his blue and pink periods in the early years of the century, the painter began his geometrical experiments in 1906, during a stay in Lérida. A year later he began to paint "Les Demoiselles de la Rue Avinyó", and in 1909 he came into contact with Braque and his Cubist period began. During the second decade he developed his classical period, and produced his famous sets for Diaghilev's Russian ballets. In 1936 he was appointed director of the Prado Museum by the Government of the Spanish Republic, and a year later he painted "Guernica". His definitive international recognition came in 1939, when he was given a retrospective at the MOMA in New York. During the following decades he was the subject of anthological exhibitions all over the world, in Rome, Milan, Paris, Cologne and New York, among many other cities. He is represented in the most important museums around the world, such as the Metropolitan, the MOMA and the Guggenheim in New York, the Hermitage in St. Petersburg, the National Gallery in London and the Reina Sofía in Madrid.
Lawrence Stephen Lowry RA RBA (1887-1976): colour lithograph, Yachts, limited edition 651/850, blind stamp lower left, 43 x 57 cm. The mount has been stuck covering all margins, now detached but has left marks and torn very bottom of the paper - this would likely be covered by a new mount. P&P Group 3 (£25+VAT for the first lot and £5+VAT for subsequent lots)
Two Royal Yacht Squadron Regatta silk commemorative programmes for the 'Grand Display of Fireworks by J, Pain & Sons Ltd, Friday August 8th, 1930': the cover with lithograph printed emblems and scene of HMY Britannia beneath a firework display with text as per title and tassel fringe, the interior with programme of events. 25 x 16cm (2)
An Edwardian 1/12th scale model of the 10-ton Bristol Channel One Design class 'Coquette': standing rigged with furled sails over simulated planked deck with fixtures and fittings, the hull painted black to the waterline and copper coloured beneath, raised on a wooden stand, 122 x 107cm in a glazed display case on stand with brass plaque ' Coquette'. 10 tons. 1900-1906. Designed, built and owned by Harold Clayton .L.O.A 35'-0'', L.W.L 26'-0'', Beam 8'-9''. Draft 6'-0''. Disptnt 8.5 tons. Sail Area 834''. 10 Firsts 3 Seconds in 13 starts & in cruising about 12,000 miles', the case 148 x 128.5 x 40 cm, raised on an associated table , overall height 224.5cm, also a lithograph print of the hull design mounted on card and inscribed as per title and signed 'H Clayton' 27.5 x 20cm
digitally signed by the artist, from the unnumbered edition of 1000, published by the Imperial War Museum, London, accompanied by a signed certificate of authenticityoffset lithograph on Arco wovesheet size: 50 by 70cm; 58 by 78,5 by 3,5cm including framing Coined “the most powerful artist in the world” by ArtReview editors (Stevens 2012), Beijing-born Ai Weiwei creates works where art and activism collide in a riot of politically charged, daring performances and spectacles. Ai Weiwei’s output is prolific and diverse, ranging from sculptural installations, to videos, to architectural projects, in an attempt to critique the random importance placed on objects and symbols within society and the arbitrariness of certain cultural values. Many of the important cultural symbols Ai Weiwei uses particularly reference his critique of the Chinese sociopolitical system, using scabrous satire to challenge and critique the authoritarian and conformist Chinese regime. In 1957, just months after the artist was born, his father and renowned poet, Ai Qing, was accused of being ‘rightist’ by Beijing officials and the entire family was exiled to remote parts of China. Later, after studying art abroad, Ai Weiwei returned to China to develop his artistic practice. His time in New York was particularly pivotal, as he was influenced by the conceptual art of artists like Andy Warhol, so upon his return home, Ai Weiwei knew how to combine art and life. The artist’s Dada-inspired ready-mades and strong satirical elements reveal an unrelenting and brave advocacy for freedom of expression and social justice, presenting a provocative and subversive dimension that few, if any, other artists present to the world. Ai Weiwei’s themes of social urgency and his attempt to address critical global conditions, namely political conflict and war, are brilliantly illustrated in History of Bombs (Lot 527). This lot is a framable print of the site-specific life-size renderings of over 50 bombs and grenades from 1911 to 2019, which stretched across the floor of the Imperial War Museum. The work unflinchingly illustrates “a history of the clever ways we kill one another” (Jones 2020). The technical, encyclopaedic collection of renderings highlights the chilling and incalculable destruction caused by human willingness and eagerness to dedicate innovation to violence. The exhibition was appropriately located, since the “murderous arsenal since the early 20th century” seemed unbelievable, until the visitor looked up and was confronted with models of the real weapons hanging from the museum’s ceiling. In this way, Ai Weiwei’s comments about the human condition are simultaneously unflinching, scabrous, and provocative. Ai Weiwei has been the subject of numerous solo exhibitions at prestigious institutions such as the Mori Art Museum, Tokyo (2009); Tate Modern, London (2010); and the Hirshhorn Museum and Sculpture Garden, Washington, DC (2012). The Centre Pompidou, Paris, and the Los Angeles County Museum of Art have also acquired his work.- A.C Cunningham, JM. 2022. Ai Weiwei, Chinese activist and artist, Britannica [O]: https://www.britannica.com/biography/Ai-Weiwei Accessed 8th May 2022Jones, J. 2020. Ai Weiwei: History of Bombs review – high-impact reminder of our insatiable desire for destruction, The Guardian [O]: https://www.theguardian.com/artanddesign/2020/jul/29/ai-weiwei-history-of-bombs-review-imperial-war-museum Accessed 8 May 2022Stevens, M. 2012. Is Ai Weiwei China’s Most Dangerous Man?, Smithsonian Magazine [O]: https://www.smithsonianmag.com/arts-culture/is-ai-weiwei-chinas-most-dangerous-man-17989316/ Accessed 8th May 2022
Susan Holland (contemporary), two limited edition prints on paper and one other print, to include: 'Skinners Door', (6/6), pencil signed, titled and dated '2001'; and 'Hotel Container', (5/5), pencil signed, titled and dated '01, 49 x 64 cm each; and one large lithograph on paper depicting a bookcase and its contents, 46 x 80 cm, in moulded gilt frame, all framed and glazed (2)
Group lot of twelve framed prints, a mirror and a quantity of loose engravings to include: Canot, after Tillemans, 'A View from one Free-Hill in Greenwich Park'; After Margaret W. Tarrant. 'The Fairies' Glade', lithograph; 'Major General Sir Denis Pack K.C.B., print of engraving by C. Turner; colour print 'Faut Apprendre a Souffrir Por Etre Belle'; and others
ALEXANDER CALDER (1898-1976)Sea Creatures, Our Unfinished Revolution, 1975-6Color lithograph on Arches wove paper annotated EA and signed in pencil lower right From the portfolio of 10 plates entitled "Our Unfinished Revolution"Published by Alba Edition, Inc, New York Printed by Mourlot Edition of 75 copies55,6 × 74,9 cm
ROBERT RAUSCHENBERG (American, 1925-2008)L’autre monde, 1989Plate from the suite «Mémoire de la Liberté»Lithograph and photolithograph in colors on Arches under plexiglas, dated, numbered and signed in pencil at the bottom of the sheet. Atelier Universal Limited Art Editor, Long Island Fondation France Liberté, publisher, ParisEdition of 90 copies100 × 70 cm
SERGE POLIAKOFF (Frenchman from Russia, 1900-1969) Composition rouge, verte et bleue, 1961 Lithograph in colors on BFK Rives Good to print and various annotations in blue ink, signed lower left Published by XXème Siècle, Paris - Printed by Studio Pons31 × 24 cm at sight Bibliography : Catalog raisonné entitled "Serge Poliakoff, Les Estampes", established by Yves Rivière, Arts et Métiers graphiques, Paris, published in 1974, listed under number 32 Note: This print is printed at 60 copies in the other direction (90 ° right) 1 500 / 2 000 €
SERGE POLIAKOFF (1900-1969)Composition jaune, 1965Color lithograph on BFK Rives signed in pencil lower right Dry stamp of the publisher Galerie im Erker, St GallenEdition of 75 numbered copies75,5 × 59,5 cm Bibliography :Catalog raisonné Serge Poliakoff, Les Estampes " Yves Rivière, Arts et Métiers graphiques, Paris, 1974 reproduced under n°46
JOAN MIRO (Spanish, 1893-1983) San Lazzaro et ses amis, 1975 Lithograph in colors on Arches wove paper numbered lower left and signed in pencil lower right Print before the letter Published by Musée d'Art Moderne de Paris Printed by Arte, Adrien Maeght, ParisEdition of 75 copies75,5 × 54,8 cm
A WW II child's respirator housed in a lithograph printed tin depicting Mickey Mouse wearing a respirator and trying to scare his nephews, made by the English tin toy manufacturers Happy Knack, tin height 20cm. The vendor states that the mask is original to the tin as it was his as a child, the mask is in very poor codition with much of it perished, the tin heavily rusted with some dents.
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