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Lot 552
Maurice de Vlaminck (French 1876 -1958) LA ROUTE Á VALMONDOIS lithograph printed in colours, signed and numbered N 24 in pencil in the margin, from the limited edition of 50 sheet size: 56 by 74cm Maurice de Vlaminck’s utter disdain for classical and renaissance art was evident from the early stages of his career. He wished to burn the École de Beaux Art with his vermillion red, wanting to translate his feelings through his art with no regard of what had been painted before. Born in Paris in 1876, de Vlaminck enjoyed success as a racing cyclist as well as a violinist before pursuing a full-time career in art at the advice of the notable fauvist, André Derain. Much like his fauvist contemporaries, de Vlaminck’s work at this time was marked by violent colour and turbulent brushwork. Following his first solo exhibition in 1910, his work was to take on a different character entirely. Bright colour was rejected in favour of graver tones, his use of deep perspective widened, becoming, in a sense, more traditional, while his oeuvre took on a more sombre note. It is in this later period that La Route à Valmondois, lot 551, was executed. Around this time, de Vlaminck lay down his paintbrush in favour of printmaking, in which he found a medium more favourable to express his new, more solemn oeuvre. This is highlighted in lot 551, with its deep perspective that vanishes down a long road, upon which two figures have embarked on what appears to be an endless journey to Valmondois in the North of France. One can almost feel the nip of the cold when gazing upon this work, with its icy streets and sombre clouds disguising just the faintest hint of cobalt blue sky, typical of the northern climes at the beginning of winter.
Lot 603
Christiaan Diedericks (South African 1965-) THE SILENT EVOLUTION - CELLULAR MEMORY III two-colour stone lithograph, signed, numbered 9/15, inscribed with title and 'France 2014' in pencil in the margin and impressed with the Atelier le Grand Village chop mark PROVENANCE Printed at Atelier le Grand Village, France sheet size: 49 by 84cm
Lot 604
Christiaan Diedericks (South African 1965-) BENEATH THE SURFACE - CELLULAR MEMORY II two-colour stone lithograph, signed, dated 2014, numbered 10/15, inscribed with the title in pencil in the margin and impressed with the Atelier le Grand Village chop mark PROVENANCE Printed at Atelier le Grand Village sheet size: 85 by 50cm
Lot 816
Damien Hirst (British 1965 -) IN-A-GADDA-DA-VIDA signed colour silkscreen and offset lithograph on two sheets of wallpaper each sheet size: 106 by 52cm Damien Hirst, arguably the most celebrated creative to come from the Young British Artists (YBAs) movement, completed his training at Goldsmiths College in London. In 1988 Hirst conceived and created ‘Freeze’an exhibition of his work as well as the work of his fellow students at Goldsmiths. In the 28 years following that show, Hirst has become one of the most prominent artists of his generation. His work is widely recognised, from the shark suspended in formaldehyde, The Physical Impossibility of Death in the Mind of Someone Living (1991) and his spot, spin and butterfly paintings, through to later works like For the Love of God (2007), a diamond encrusted skull. Throughout his work, Hirst takes a direct and challenging approach to ideas about existence. His work calls into question our awareness and convictions about the boundaries that separate desire and fear, life and death, reason and faith, love and hate. Hirst uses the tools and iconography of science and religion, creating sculptures and paintings whose beauty and intensity offer the viewer insight into art that transcends our familiar understanding of those domains. “There are four important things in life: religion, love, art and science,” the artist has said. “At their best, they’re all just tools to help you find a path through the darkness. None of them really work that well, but they help. Of them all, science seems to be the one right now. Like religion, it provides the glimmer of hope that maybe it will be alright in the end.” The wallpaper exhibited in lot 816 takes its name from the Tate Britain exhibition in which it was originally used to clad the walls of this highly respected institution. The name for the exhibition, In-A-Gadda-Da-Vida, was borrowed from the title track of an LP released in 1968 by the rock band, Iron Butterfly. The song was originally going to be called ‘In the Garden of Eden’. Legend has it that the lead singer was so drunk when he first announced the song’s title that one of the band members wrote down phonetically the slurred words ‘In-A-Gadda-Da-Vida’. The title suggests an overt theme: broadly, the contemporary consequences of the original myth of falling from grace, but the exhibition also reveals the differing formal and material approaches of three artists, Sarah Lucas, Angus Fairhurst and Damien Hirst, and how they use metaphor in diverse ways. In this exhibition, Hirst constructed complex installations inside vitrines and displayed grandiose collages using real butterflies and flies in addition to designing the very intricate wallpaper which we see in lot 816. - Barkham, P., Damien Hirst’s Butterflies: Distressing but Weirdly Uplifting, The Guardian, 18 April 2012 Online, available: https://www.theguardian.com/environment/2012/apr/18/damien-hirst-butterflies-weirdly-uplifting - Gagosian, Damien Hirst. Online, available: http://www.gagosian.com/artists/damien-hirst - Tate Britain, In-a-Gadda-Da-Vida: Angus Fairhurst, Damien Hirst and Sarah Lucas, March 2004. Online, available: http://www.tate.org.uk/whats-on/tate-britain/exhibition/gadda-da-vida
Lot 383
HIROHITO PORTRAYED AS A SPIDER CONSUMING CHINAExcellent anti-Japanese poster: "El Fascismo", 26 1/2" x 18 1/4", a lithograph promoting the "Conferencia El Fascismo Japones" in Mexico City, Mexico, June 9, 1939. Artist Isidro Ocampo has portrayed young Emperor Hirohito as a horned, black-bodied spider preparing to consume China. Fine. From a single collection obtained entirely in China pre-2000.
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