Kerstin McGregor (b. 1962-2012) Untitled Seagull, 2000 Oil on canvas painting Signed and dated 2000 to the bottom left Measures approx. 101cm x 50cm Kerstin McGregor was resident of Downend in Bristol for nearly 20 years. She was born in November 1962, and grew up in Balsall Common, Warwickshire. She trained at Liverpool polytechnic College of Art, specialising in oil paintings. She graduated with first class honours in Fine Art in 1986. Between 1986 and 1990, Kerstin painted and exhibited from her studio at the Bridewell Studios, Liverpool. During this time she exhibited throughout the Northwest and the Midlands. She married in 1990 and lived for a short time in Redditch, Worcestershire, before moving to Bristol in 1992. Kerstin continued painting and exhibiting from her home studio, but also pursued a parallel career as a community education teacher of arts and crafts, specialising in teaching people with learning difficulties. Kerstin described her work as ‘based on life, but painted from her imagination’. She admired, and drew inspiration from, many well known artists including: Picasso, Miro, Dali, Gauguin and Kandinsky. She was also a great admirer of Monet, Van Gogh and other impressionists. Kerstin believed that the creative process was of equal importance to the finished painting. Whilst oil painting was Kerstin’s first love, she also made pictures in chalk and oil pastel, pencil and charcoal, watercolour and mixed media. Kerstin exhibited at many galleries and events including Midlands Art Centre 1981, Walker Art Gallery Liverpool 1986, Artist’s Studios Liverpool 1986, Ayling Porteous Gallery Chester 1986, Athenum Gallery Manchester 1987, Acorn Gallery Liverpool 1990, Kings Heath Birmingham 1992 and many more including a exhibit after her death In 2013 at the Royal West Of England Academy ( R.W.A ), Queens Road, Clifton, Bristol entitled Kerstin McGregor Retrospective.
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Kerstin McGregor (b. 1962-2012) Untitled Portrait Oil on canvas painting Unsigned Measures approx. 83cm x 68cm Kerstin McGregor was resident of Downend in Bristol for nearly 20 years. She was born in November 1962, and grew up in Balsall Common, Warwickshire. She trained at Liverpool polytechnic College of Art, specialising in oil paintings. She graduated with first class honours in Fine Art in 1986. Between 1986 and 1990, Kerstin painted and exhibited from her studio at the Bridewell Studios, Liverpool. During this time she exhibited throughout the Northwest and the Midlands. She married in 1990 and lived for a short time in Redditch, Worcestershire, before moving to Bristol in 1992. Kerstin continued painting and exhibiting from her home studio, but also pursued a parallel career as a community education teacher of arts and crafts, specialising in teaching people with learning difficulties. Kerstin described her work as ‘based on life, but painted from her imagination’. She admired, and drew inspiration from, many well known artists including: Picasso, Miro, Dali, Gauguin and Kandinsky. She was also a great admirer of Monet, Van Gogh and other impressionists. Kerstin believed that the creative process was of equal importance to the finished painting. Whilst oil painting was Kerstin’s first love, she also made pictures in chalk and oil pastel, pencil and charcoal, watercolour and mixed media. Kerstin exhibited at many galleries and events including Midlands Art Centre 1981, Walker Art Gallery Liverpool 1986, Artist’s Studios Liverpool 1986, Ayling Porteous Gallery Chester 1986, Athenum Gallery Manchester 1987, Acorn Gallery Liverpool 1990, Kings Heath Birmingham 1992 and many more including a exhibit after her death In 2013 at the Royal West Of England Academy ( R.W.A ), Queens Road, Clifton, Bristol entitled Kerstin McGregor Retrospective.
Kerstin McGregor (b. 1962-2012) Untitled Portrait Abstract oil on canvas painting Signed to the bottom right Measures approx. 85cm x 68cm Kerstin McGregor was resident of Downend in Bristol for nearly 20 years. She was born in November 1962, and grew up in Balsall Common, Warwickshire. She trained at Liverpool polytechnic College of Art, specialising in oil paintings. She graduated with first class honours in Fine Art in 1986. Between 1986 and 1990, Kerstin painted and exhibited from her studio at the Bridewell Studios, Liverpool. During this time she exhibited throughout the Northwest and the Midlands. She married in 1990 and lived for a short time in Redditch, Worcestershire, before moving to Bristol in 1992. Kerstin continued painting and exhibiting from her home studio, but also pursued a parallel career as a community education teacher of arts and crafts, specialising in teaching people with learning difficulties. Kerstin described her work as ‘based on life, but painted from her imagination’. She admired, and drew inspiration from, many well known artists including: Picasso, Miro, Dali, Gauguin and Kandinsky. She was also a great admirer of Monet, Van Gogh and other impressionists. Kerstin believed that the creative process was of equal importance to the finished painting. Whilst oil painting was Kerstin’s first love, she also made pictures in chalk and oil pastel, pencil and charcoal, watercolour and mixed media. Kerstin exhibited at many galleries and events including Midlands Art Centre 1981, Walker Art Gallery Liverpool 1986, Artist’s Studios Liverpool 1986, Ayling Porteous Gallery Chester 1986, Athenum Gallery Manchester 1987, Acorn Gallery Liverpool 1990, Kings Heath Birmingham 1992 and many more including a exhibit after her death In 2013 at the Royal West Of England Academy ( R.W.A ), Queens Road, Clifton, Bristol entitled Kerstin McGregor Retrospective.
Kerstin McGregor (b. 1962-2012) Three Untitled Still Life Paintings Each being oil on canvas Each unsigned Each measures approx. 20cm x 25cm Kerstin McGregor was resident of Downend in Bristol for nearly 20 years. She was born in November 1962, and grew up in Balsall Common, Warwickshire. She trained at Liverpool polytechnic College of Art, specialising in oil paintings. She graduated with first class honours in Fine Art in 1986. Between 1986 and 1990, Kerstin painted and exhibited from her studio at the Bridewell Studios, Liverpool. During this time she exhibited throughout the Northwest and the Midlands. She married in 1990 and lived for a short time in Redditch, Worcestershire, before moving to Bristol in 1992. Kerstin continued painting and exhibiting from her home studio, but also pursued a parallel career as a community education teacher of arts and crafts, specialising in teaching people with learning difficulties. Kerstin described her work as ‘based on life, but painted from her imagination’. She admired, and drew inspiration from, many well known artists including: Picasso, Miro, Dali, Gauguin and Kandinsky. She was also a great admirer of Monet, Van Gogh and other impressionists. Kerstin believed that the creative process was of equal importance to the finished painting. Whilst oil painting was Kerstin’s first love, she also made pictures in chalk and oil pastel, pencil and charcoal, watercolour and mixed media. Kerstin exhibited at many galleries and events including Midlands Art Centre 1981, Walker Art Gallery Liverpool 1986, Artist’s Studios Liverpool 1986, Ayling Porteous Gallery Chester 1986, Athenum Gallery Manchester 1987, Acorn Gallery Liverpool 1990, Kings Heath Birmingham 1992 and many more including a exhibit after her death In 2013 at the Royal West Of England Academy ( R.W.A ), Queens Road, Clifton, Bristol entitled Kerstin McGregor Retrospective.
Kerstin McGregor (b. 1962-2012) The Sacrifice, 2004-05 Abstract oil on canvas portrait painting Signed to the lower right with pencil notations to the verso Measures approx. 102cm x 81cm Kerstin McGregor was resident of Downend in Bristol for nearly 20 years. She was born in November 1962, and grew up in Balsall Common, Warwickshire. She trained at Liverpool polytechnic College of Art, specialising in oil paintings. She graduated with first class honours in Fine Art in 1986. Between 1986 and 1990, Kerstin painted and exhibited from her studio at the Bridewell Studios, Liverpool. During this time she exhibited throughout the Northwest and the Midlands. She married in 1990 and lived for a short time in Redditch, Worcestershire, before moving to Bristol in 1992. Kerstin continued painting and exhibiting from her home studio, but also pursued a parallel career as a community education teacher of arts and crafts, specialising in teaching people with learning difficulties. Kerstin described her work as ‘based on life, but painted from her imagination’. She admired, and drew inspiration from, many well known artists including: Picasso, Miro, Dali, Gauguin and Kandinsky. She was also a great admirer of Monet, Van Gogh and other impressionists. Kerstin believed that the creative process was of equal importance to the finished painting. Whilst oil painting was Kerstin’s first love, she also made pictures in chalk and oil pastel, pencil and charcoal, watercolour and mixed media. Kerstin exhibited at many galleries and events including Midlands Art Centre 1981, Walker Art Gallery Liverpool 1986, Artist’s Studios Liverpool 1986, Ayling Porteous Gallery Chester 1986, Athenum Gallery Manchester 1987, Acorn Gallery Liverpool 1990, Kings Heath Birmingham 1992 and many more including a exhibit after her death In 2013 at the Royal West Of England Academy ( R.W.A ), Queens Road, Clifton, Bristol entitled Kerstin McGregor Retrospective.
Kerstin McGregor (b. 1962-2012) Old Friend, 2003 Oil on canvas portrait painting Signed and dated 2003 to the bottom left Measures approx. 102cm x 127cm Kerstin McGregor was resident of Downend in Bristol for nearly 20 years. She was born in November 1962, and grew up in Balsall Common, Warwickshire. She trained at Liverpool polytechnic College of Art, specialising in oil paintings. She graduated with first class honours in Fine Art in 1986. Between 1986 and 1990, Kerstin painted and exhibited from her studio at the Bridewell Studios, Liverpool. During this time she exhibited throughout the Northwest and the Midlands. She married in 1990 and lived for a short time in Redditch, Worcestershire, before moving to Bristol in 1992. Kerstin continued painting and exhibiting from her home studio, but also pursued a parallel career as a community education teacher of arts and crafts, specialising in teaching people with learning difficulties. Kerstin described her work as ‘based on life, but painted from her imagination’. She admired, and drew inspiration from, many well known artists including: Picasso, Miro, Dali, Gauguin and Kandinsky. She was also a great admirer of Monet, Van Gogh and other impressionists. Kerstin believed that the creative process was of equal importance to the finished painting. Whilst oil painting was Kerstin’s first love, she also made pictures in chalk and oil pastel, pencil and charcoal, watercolour and mixed media. Kerstin exhibited at many galleries and events including Midlands Art Centre 1981, Walker Art Gallery Liverpool 1986, Artist’s Studios Liverpool 1986, Ayling Porteous Gallery Chester 1986, Athenum Gallery Manchester 1987, Acorn Gallery Liverpool 1990, Kings Heath Birmingham 1992 and many more including a exhibit after her death In 2013 at the Royal West Of England Academy ( R.W.A ), Queens Road, Clifton, Bristol entitled Kerstin McGregor Retrospective.
Kerstin McGregor (b. 1962-2012) Untitled Dog Oil on canvas painting Unsigned Measures approx. 62cm x 46cm Kerstin McGregor was resident of Downend in Bristol for nearly 20 years. She was born in November 1962, and grew up in Balsall Common, Warwickshire. She trained at Liverpool polytechnic College of Art, specialising in oil paintings. She graduated with first class honours in Fine Art in 1986. Between 1986 and 1990, Kerstin painted and exhibited from her studio at the Bridewell Studios, Liverpool. During this time she exhibited throughout the Northwest and the Midlands. She married in 1990 and lived for a short time in Redditch, Worcestershire, before moving to Bristol in 1992. Kerstin continued painting and exhibiting from her home studio, but also pursued a parallel career as a community education teacher of arts and crafts, specialising in teaching people with learning difficulties. Kerstin described her work as ‘based on life, but painted from her imagination’. She admired, and drew inspiration from, many well known artists including: Picasso, Miro, Dali, Gauguin and Kandinsky. She was also a great admirer of Monet, Van Gogh and other impressionists. Kerstin believed that the creative process was of equal importance to the finished painting. Whilst oil painting was Kerstin’s first love, she also made pictures in chalk and oil pastel, pencil and charcoal, watercolour and mixed media. Kerstin exhibited at many galleries and events including Midlands Art Centre 1981, Walker Art Gallery Liverpool 1986, Artist’s Studios Liverpool 1986, Ayling Porteous Gallery Chester 1986, Athenum Gallery Manchester 1987, Acorn Gallery Liverpool 1990, Kings Heath Birmingham 1992 and many more including a exhibit after her death In 2013 at the Royal West Of England Academy ( R.W.A ), Queens Road, Clifton, Bristol entitled Kerstin McGregor Retrospective.
Various Artists. Maeght Editeur Paris. Lithographies et eaux-fortes originales, livres illustres originaux, affiches, Derriere Le Miroir, London: Redfern Gallery, 1966, 47 [3] pages printed on Chiffon de Mandeure, introduction by John Russell in English, other text in French, 8 original colour lithographs by Marc Chagall, Joan Miro, Alexander Calder, Raoul Ubac, Pierre Tal-Coat, Eduardo Chillida, Saul Steinberg and Ellsworth Kelly, two colour reproductions after lithographs by Georges Braque and Alberto Giacometti, original printed wrappers with original colour lithograph by Joan Miro to upper cover, some minor spotting to fore-edges, small 4to, VGQTY: (1)NOTE:Printed in an edition of 1500 copies.
Various Artists. Maeght Editeur Paris. Lithographies et eaux-fortes originales, livres illustres originaux, affiches, Derriere Le Miroir, London: Redfern Gallery, 1966, 47 [3] pages printed on Chiffon de Mandeure, introduction by John Russell in English, other text in French, 8 original colour lithographs by Marc Chagall, Joan Miro, Alexander Calder, Raoul Ubac, Pierre Tal-Coat, Eduardo Chillida, Saul Steinberg and Ellsworth Kelly, two colour reproductions after lithographs by Georges Braque and Alberto Giacometti, original printed wrappers with original colour lithograph by Joan Miro to upper cover, some minor spotting to fore-edges, small 4to, VGQTY: (1)NOTE:Printed in an edition of 1500 copies.
Wassily Kandinsky & Joan Miro, 3 Plakate der Galerie MaeghtPlakat Wassily Kandinsky der Galerie Maeght Paris, 13 Rue De Teheran, Bauhaus de Dessau 1927-1933, Farblithographie, 72,5 x 45,5 cm, um 1970, rechte untere Ecke leicht wellig / 2 Plakate Joan Miro der Galerie Maeght Paris, 13 Rue de Teheran, "peinture sur papier, dessin", 2 Farblithographien, 80 x 56 cm, o. Rahmen
BELL, Clive (1881-1964). Since Cezanne, London, 1922, 8vo, half tone plates, original cloth. FIRST EDITION, with a pencil note by Eden and highlighting. With 12 other art reference books, some PRESENTATION COPIES to Anthony Eden. (13)BELL, Clive (1881-1964). Since Cézanne. London: Chatto and Windus, 1922. 8vo (195 x 130mm). Half title, half tone plates (some spotting). Original blue cloth, spine with printed label (label rubbed, without the dust-jacket). Provenance: Anthony Eden, 1st Earl of Avon (old armorial bookplate). FIRST EDITION, with a pencil note on p.65 (illegible, probably not in Eden's hand, illustrated) and on p.137, in Eden's hand, regarding "young Oxford intellectuals", and with his highlighting throughout. With 12 other related books including Julius Meier-Graefe's Degas (London, 1923, 4to, monochrome plates, original buckram, NUMBER 225 OF 1,000 COPIES), Constantin Antoniade's Trois Figures de la Renaissance. Pierre Arétin. Guichardin. Benvenuto Cellini (Paris, 1937, 8vo, wrappers, NUMBER 141 OF 155 COPIES, PRESENTATION COPY, inscribed, "A Mr. Anthony Eden, hommage et respectueuse admiration, Antoniade, Genève, Janvier 1938", Austen Chamberlain's Seen in Passing ... Foreword by Lady [Ivy] Chamberlain (London, 1937, 4to, plates, original cloth, the author's wife's PRESENTATION COPY of this account of an architectural travelogue through Europe just before The Second World war, inscribed "Anthony [Eden], [?]from Ivy Chamberlain"), Wilfrid Blunt's The Art of Botanical Illustration (London, 1950, large 8vo, plates, some coloured, attractively bound in full red modern calf gilt by Bayntun Riviere, SIGNED BY THE AUTHOR), Kenneth Clark's Piero della Francesca (London, 1951, folio, plates, some coloured, original red buckram, INSCRIBED in a very small hand [?presumably to Anthony Eden], "With all good wishes from Jane & Kenneth Clark, August 1952"), Huntington Cairns & John Walker's Great Paintings from the National Gallery of Art (Washington, 1952, folio, full-page coloured illustrations, original dark blue buckram gilt, FIRST EDITION, PRESENTATION COPY, the front free endpaper inscribed, "For [?illegible word] Eden, with kind regards from his friends at the National Gallery, [signed respectively by:] David Finley [the gallery's first Director], Huntington Cairns, John Walker, Washington, March 5, 1953"), Raymond Nacenta's The Painters and the Artistic Climate of Paris since 1810 (London, 1960, folio, coloured plates, original blue hessian, PRESENTATION COPY, the half title inscribed, "A Lord et Lady Avon, en souvenir de leur visite 'd'avant-première' à l' Exposition des peintures des collections français, Avec les sincères hommages de Ray. Nacenta, Le 27 Juin, 1962"), Catalogue de l' Oeuvre de Georges Braque. Peintures 1936-1941 ([Paris], 1961, 4to, illustrations, some coloured, original coloured decorated hessian boards, ring-bound internally), Henry Maldiney's La Fondation Marguerite et Aimé Maeght (Paris, "Derrière le Miroir, No. 148," 1964, folio, plates and illustrations by Braque, Chagall, Kandinsky, Miro, Giacometti and others, including 6 original lithographs, some coloured, original pictorial boards) and Denys Sutton's Walter Sickert. A Biography (London, 1976, 4to, plates, cloth, PRESENTATION COPY, inscribed, "For Anthony and Clarissa [Eden], with much affection and gratitude, Denys"). The lot sold not subject to return. (13)
Duchamp (Marcel) and Andre Breton. Boite Alerte: Missives Lascives, one of 200 copies, comprising a collection of letters, catalogues, objects, postcards and original signed and numbered graphic works (lacking the lithograph by Joan Miró (Mourlot 195)), housed within the original green paper covered cardboard box designed to look like a French post-box (a little rubbed), limitation number stamped on inside of lid, overall size 278 x 190 x 70mm., n.p., 1959.⁂ The present lot contains the following items:i) catalogue for the exhibition.ii) 8 Missives Lascives by Micheline Bounoure, Alain Joubert, Joyce Mansour, Robert Benayoum, Octavio Paz, André Pieyre, Mimi Parent (a black silk stocking in an envelope with transparent window), and one anonymous.iii) a telegram on pink paper by Marcel Duchamp writing as Rrose Sélavy to André Bretoniv) a vinyl 45 rpm two-sided record with recordings of poems by Joyce Mansour and Benjamin Peretv) 6 colour postcards of works by Bellmer, Dali, Gorky, Miro, Svanberg, and Clovis Trouille.vi) 3 original signed and numbered lithographs by Adrien Dax, Marie Toyen, Max Walter Svanbergvii) an original signed and a numbered etching by Jacques Le Marechal.
Joan Miro (1893-1983) after. ''Sculptures'' Exhibition Poster (Corredor-Matheos 41)Lithograph printed in colours, 1970, from the edition of unknown size, printed by Arte Adrien Maeght, published by Galerie Maeght, Paris, on wove paper, the full sheet printed to the edges, sheet 765 x 537mm (30 1/4 x 21 1/4in)
Joan Miro (1893-1983) after.Composition Originale Pour Fernand MourlotLithograph printed in colours, 1983, from the edition of 2,500, published by Pierre Bordas et Fils, Paris, with the Atelier Mourlot Collection rubber stamp verso, on BFK Rives paper, the full sheet, sheet 317 x 276mm (12 1/2 x 10 7/8in)
MIRO JOAN: (1893-1983) Spanish painter, sculptor and ceramicist. A.L.S., Miro, one page, 4to, Palma, Mallorca, 13th May 1962, on his personal printed stationery, thin embossed paper, in French. Miro writes to a friend and reports on his daily work with the Ceramicist Artigas and confirms he will pick up his correspondent at the airport, stating in part `…j´ai beaucoup travaillé chez Artigas ces quelques mois, pour vous dire que je vous attendrai aved joie à l´aérogare de Palma le Samedi 19 à 15h15. Dommage que vous ne puissiez pas rester le soir pour aller gouter une bonne paella…´ (Translation: `I have worked a lot at Artigas these few months, to tell you that I will be waiting for you with joy at the Palma terminal on Saturday 19th at 3:15 p.m. What a pity that you can't stay in the evening to taste a good paella…´) VG Josep Llorens I Artigas (1892-1980) Spanish Ceramicist and Critic of art. Artigas and his friend Joan Miró worked together on several well-known large ceramic murals, including those at the Unesco headquarters in Paris, Harvard University, the Barcelona airport and the one on the main façade of the Palacio de Congresos y Exposiciones in Madrid.
MIRO JOAN: (1893-1983) Spanish painter. An excellent, lengthy and early A.L.S., Miro, three pages, 4to, Barcelona, 7th April 1934, to [Christian] Zervos, in French. Miro states that he has received his correspondent's letter, article and photograph, explaining that he did not answer sooner 'parce que j'ai du me rendrer a Montrois pour verifier d'apres le dessins.....les dates exactes, et vous donner de la facon la plus exacte possible, les renseignments que vous m'aviez demande a Paris' (Translation: 'because I had to go to Montrois to check according to the drawings….the exact dates, and to give you in the most exact way possible, the information that you had asked me for in Paris') and continuing to write concerning Zervos's article, and offering some advice, 'Votre article est tres, tres bien, vous avez tres bien compris mes inquietudes, il est en meme temps ecrit avec un grand courage. Je l'ai lu maintes fois attentivement et en suis tres emu. Vous en remercie de tout Coeur. Il faudrait toutefois rectifer, quelques dates, il m'etait tres difficile de les preciser lors de notre entretien chez vous. J'estime que ces donnees doivent etre tres exacter, d'autant plus qu'elles seront repandues a l'etranger, ou l'on se servira de ce numero de "Cahiers d'Art" lorsque l'on voudra ecrire quelque chose d'important sur moi. a) J'ai commence l'etude de la peinture a l'age de 14 ans, mon premier professeur a ete Urgell, et plus tard Pasco. b) Je cesse de peindre de 1910 a 1912 - a partir de cette date je m'adonne entierement a la peinture et frequente a Barcelone certaines academies etc. et passe mes vacances a Montrois, je frequente les academies jusqu'a 1914, et desormais je travaillerai seul. c) arrive a Paris pour le premiere fois en mars 1919, et c'est a partir de cette date que je travaille tantot a Barcelone tantot a Montrois, tantot a Paris. d) qouique la plupart de reproductions n'auront pas de titre, il ne faudrait cependant pas negliger d'en mettre a celles que vous citez dans votre article et aux plus representatives pour mieux le comprendre. e) ces tableaux ont ete faits l'hiver et le printemps 1933. f) Je trouve aussi que c'est mieux que vous supprimiez ce passage. Comme vous voyez toutes les rectifications sont tres necessaires et tres importantes, je vous demande de faire l'impossible pour y etre a temps' (Translation: 'Your article is very, very good, you have understood my concerns very well, it is at the same time written with great courage. I have read it carefully many times and am very moved by it. Thank you wholeheartedly. However, it would be necessary to rectify a few dates, it was very difficult for me to specify them during our interview with you. I consider that this information must be very exact, especially since they will be spread abroad, where people will use this number of “Cahiers d'Art” when they want to write something important about me. a) I started studying painting at the age of 14, my first teacher was Urgell, and later Pasco. b) I stop painting from 1910 to 1912 - from this date I devote myself entirely to painting and attend certain academies etc. in Barcelona and spend my holidays in Montrois. I attended the academies until 1914 and from then on I would work alone. c) arrived in Paris for the first time in March 1919, and it was from this date that I worked sometimes in Barcelona, sometimes in Montrois, sometimes in Paris. d) although most of the reproductions will not have a title, you should not neglect to put one to those you quote in your article and to the most representative ones to better understand it. e) these paintings were made in the winter and spring of 1933. f) I also think it is better that you delete this passage. As you see all the corrections are very necessary and very important, I ask you to do the impossible to there in time'). Miro also asks his correspondent if they have decided to go ahead with an exhibition, and to let him know the exact date of the opening as soon as they know it, and further enquiring if invitations will be sent, in which case Miro will provide some addresses, additionally writing 'J'ai reflechi a ce que votre femme me demande d'apporter de nouveaux tableaux. Il me semble que cette nouvelle serie faudrait la montrer ensemble, ce serait une erreur que d'en exposer quelques specimens au prealable. Ce qui serait peut-etre tres bien, ce que, du moment ou "Cahiers d'Art" est consacre a toute mon oeuvre, vous exposiez aussi, dans une piece a part quelques toiles anciennes. En etant fait simultanement a l'apparition de "Cahiers d'Art" cela n'aura nullement l'air d'une retrospective, qu'il faut a tout prix eviter.......ca restera tres intime et n'aura pas l'air pretentieux d'une exposition rue de la Boetie. Et suivrait en meme temps la trajectoire qui se termine en 1933' (Translation: 'I thought about your wife asking me to bring new paintings. It seems to me that this new series should be shown together, it would be a mistake to exhibit a few specimens beforehand. What would perhaps be very good, since “Cahiers d'Art” is devoted to all my work, you also exhibit, in a separate room, a few old paintings. By being done simultaneously with the appearance of “Cahiers d'Art” it will in no way seem like a retrospective, which must be avoided at all costs….it will remain very intimate and will not have the pretentious air of an exhibition on rue de la Boetie. And at the same time it would follow the trajectory which ends in 1933'). Miro concludes by asking if Zervos has seen Pierre Matisse, explaining 'Je lui ai ecrit deux lettres en reponse a la sienne ou'il me faisait part de l'accord avec [Henri] Matisse et il ne m'a point repondu. Je lui demandais s'il m'autorisait a ecrire a Matisse pour lui demander de s'entendre avec lui pour les mensualites de maniere a ce que ce fut Pierre qui ces versat en toute sa totalite. Je crois que du moment ou Pierre est, pour ainsi dire, le marchand officiel, pourrait trouver des moyens pour regler les mensualites…..' (Translation: 'I wrote him two letters in response to his where he informed me of the agreement with [Henri] Matisse and he did not answer me. I asked him if he would authorise me to write to Matisse to ask him to come to an agreement with him for the monthly payments so that it was Pierre who would pay them in full. I believe that since Pierre is, so to speak, the official merchant, he could find ways to settle the monthly payments….'). A letter of fine content. Some very light, extremely minor age wear, VGChristian Zervos (1889-1970) Greek-French art historian, critic, collector, writer and publisher who founded the magazine Cahiers d'art and also ran an art gallery.Pierre Matisse (1900-1989) French-American art dealer, the youngest child of Henri Matisse. The Pierre Matisse Gallery was opened in New York in 1931 and represented many European artists including Miro, Marc Chagall, Alberto Giacometti and Jean Dubuffet amongst others.
Pablo Picasso - 'Galerie 65 Cannes 1956', lithograph in colours, published by Mourlot 1959, sheet size 30.5cm x 24cm, together with a collection of prints including examples after Arthur Secunda, Miro, Picasso, Chagall and Raphael.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Peter Carreras - 'Homage to Tapies, Picasso Miro & Dali', late 20th century colour etching, signed, titled and editioned 18/50 in pencil, 22cm x 17cm, framed, together with two other monochrome prints by the same hand, 'Duo I' and 'Little Jimbo'.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Sechs Lithographien in:: Joan Miro. Litografo I. Barcelona, Ed. Poligrafa 1972. Gr.4°. Mit 6 (von 12, inkl. Umschl.) tls. dplblgr. Orig.-Farblithogr. von J. Miro u. zahlr., meist farb. Abb. 219 (von 231) S., 4 Bl. Olwd. mit farb. illustr. OU. (Dieser mit etw. Gebrauchsspuren und einig. kl. Randeinrissen). - Spanische Ausgabe. - Es fehlen die Orig.-Lithogr. Nr. 1-3, 5, 6 u. 11.
Otto Schade Tiger Eye, 2023 Pen and pencil on card Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About A native of Chile, Otto Schade took his vibrant art to England in 2005. After attaining an architecture degree in Concepción, Otto began his career as an urban sculptor. But it was his fascination with surreal art that led him toward his passion to paint. Inspired by masters of the past like Dali, Magritte, Miro, Giger, and Beksiński. Otto quickly found the local street art scene, where he painted pieces boasting a sharp and ironic twist. While communicating anti-war themes along with his trademark ribbon style, he earned a street cred name, Osch, in London's district of Shoreditch and beyond. Since then, Otto's art has gone global. He has participated in some of the biggest art festivals, including the "Upfest" in Bristol, "Sand, Sea and Spray" in Blackpool, "City of Colors" in Birmingham and "Hometown" in Berlin. As well, Otto's pieces have been exhibited in the USA, South America, Africa, Asia and many cities across Europe. The demand for Otto's unique pieces of art continues. In 2018 alone, he participated in two art exhibitions - one in Paris and one in Berlin - and had the opportunity to paint in the following cities: Miami, New York City, Denver, Lisbon, Paris, Amsterdam, Berlin, Munich and Santiago. In December, Otto was painting a mural in Jamaica. The eclectic works of Otto Schade can be found on the streets of many European cities - including Berlin, Amsterdam, Moscow, Paris, Barcelona, Porto, Luxembourg, Stockholm, Gothenburg, Brussels, and London - and can be viewed in various galleries and exhibition centres across Europe. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Otto Schade Leopard Eye, 2023 Pen and pencil on card Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About A native of Chile, Otto Schade took his vibrant art to England in 2005. After attaining an architecture degree in Concepción, Otto began his career as an urban sculptor. But it was his fascination with surreal art that led him toward his passion to paint. Inspired by masters of the past like Dali, Magritte, Miro, Giger, and Beksiński. Otto quickly found the local street art scene, where he painted pieces boasting a sharp and ironic twist. While communicating anti-war themes along with his trademark ribbon style, he earned a street cred name, Osch, in London's district of Shoreditch and beyond. Since then, Otto's art has gone global. He has participated in some of the biggest art festivals, including the "Upfest" in Bristol, "Sand, Sea and Spray" in Blackpool, "City of Colors" in Birmingham and "Hometown" in Berlin. As well, Otto's pieces have been exhibited in the USA, South America, Africa, Asia and many cities across Europe. The demand for Otto's unique pieces of art continues. In 2018 alone, he participated in two art exhibitions - one in Paris and one in Berlin - and had the opportunity to paint in the following cities: Miami, New York City, Denver, Lisbon, Paris, Amsterdam, Berlin, Munich and Santiago. In December, Otto was painting a mural in Jamaica. The eclectic works of Otto Schade can be found on the streets of many European cities - including Berlin, Amsterdam, Moscow, Paris, Barcelona, Porto, Luxembourg, Stockholm, Gothenburg, Brussels, and London - and can be viewed in various galleries and exhibition centres across Europe. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Otto Schade Lon-dress, 2023 Pen and pencil on card Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About A native of Chile, Otto Schade took his vibrant art to England in 2005. After attaining an architecture degree in Concepción, Otto began his career as an urban sculptor. But it was his fascination with surreal art that led him toward his passion to paint. Inspired by masters of the past like Dali, Magritte, Miro, Giger, and Beksiński. Otto quickly found the local street art scene, where he painted pieces boasting a sharp and ironic twist. While communicating anti-war themes along with his trademark ribbon style, he earned a street cred name, Osch, in London's district of Shoreditch and beyond. Since then, Otto's art has gone global. He has participated in some of the biggest art festivals, including the "Upfest" in Bristol, "Sand, Sea and Spray" in Blackpool, "City of Colors" in Birmingham and "Hometown" in Berlin. As well, Otto's pieces have been exhibited in the USA, South America, Africa, Asia and many cities across Europe. The demand for Otto's unique pieces of art continues. In 2018 alone, he participated in two art exhibitions - one in Paris and one in Berlin - and had the opportunity to paint in the following cities: Miami, New York City, Denver, Lisbon, Paris, Amsterdam, Berlin, Munich and Santiago. In December, Otto was painting a mural in Jamaica. The eclectic works of Otto Schade can be found on the streets of many European cities - including Berlin, Amsterdam, Moscow, Paris, Barcelona, Porto, Luxembourg, Stockholm, Gothenburg, Brussels, and London - and can be viewed in various galleries and exhibition centres across Europe. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
* ELSPETH LAMB (SCOTTISH b. 1951), GOAT lithograph on paper, signed, titled and numbered 13/13mounted, framed and under glass image size 57cm x 77cm, overall size 70cm x 88cm Note: Elspeth Lamb studied at Glasgow School of Art, Manchester Metropolitan University and the Tamarind Institute of Lithography, University of New Mexico USA, her main specialism being printmaking. She is an elected RSA Academician, and an elected member of the Society of Scottish Artists and Royal Glasgow Institute, and has taught several workshops in lithography at the Joan Miro Foundation in Mallorca, Spain. She has won several awards for her work, which is also included in major collections such as the Japanese Consular Collection, The British Council, the MAG Collection, and the Joan Miro Foundation Collection, as well as being represented in several Art Galleries and Museums both in the UK and abroad. For 21 years she taught at the Edinburgh College of Art, latterly as Head of the Department of Printmaking and she has been visiting lecturer at many colleges in the UK including the Glasgow School of Art, Duncan of Jordanstone College Dundee and Middlesex University. She chose to give up all academic teaching commitments in 1999 to pursue her artistic career; a recent one-person exhibition was at A.I.R. Gallery in Chelsea, New York City during 2004. Her most recent residencies have been in Bulgaria, Canada and Newfoundland, and she exhibits regularly at home and abroad. Elspeth studied the art of moku hanga printing in Japan with master craftsmen during 2000, where she was selected to be one of six international artists to participate in a residency based on Awaji Island. Since then, she has returned twice to study Japanese papermaking: this research was related to her publication,’Papermaking for Printmakers’ which was published by A&C Black, London, in May 2006.As a freelance artist, she has organised and taught printmaking and papermaking workshops at many art centres and schools across Scotland, such as Taigh Chearsabhagh, in North Uist, the Leith School of Art, Edinburgh, and the Hunterian Museum, Glasgow University. She works with children and adults of all ages.
* ELSPETH LAMB (SCOTTISH b. 1951), CONSTELLATION lithograph on paper, signed, titled and dated 9/13mounted, framed and under glass image size 57cm x 77cm, overall size 70cm x 88cmNote: Elspeth Lamb studied at Glasgow School of Art, Manchester Metropolitan University and the Tamarind Institute of Lithography, University of New Mexico USA, her main specialism being printmaking. She is an elected RSA Academician, and an elected member of the Society of Scottish Artists and Royal Glasgow Institute, and has taught several workshops in lithography at the Joan Miro Foundation in Mallorca, Spain. She has won several awards for her work, which is also included in major collections such as the Japanese Consular Collection, The British Council, the MAG Collection, and the Joan Miro Foundation Collection, as well as being represented in several Art Galleries and Museums both in the UK and abroad. For 21 years she taught at the Edinburgh College of Art, latterly as Head of the Department of Printmaking and she has been visiting lecturer at many colleges in the UK including the Glasgow School of Art, Duncan of Jordanstone College Dundee and Middlesex University. She chose to give up all academic teaching commitments in 1999 to pursue her artistic career; a recent one-person exhibition was at A.I.R. Gallery in Chelsea, New York City during 2004. Her most recent residencies have been in Bulgaria, Canada and Newfoundland, and she exhibits regularly at home and abroad. Elspeth studied the art of moku hanga printing in Japan with master craftsmen during 2000, where she was selected to be one of six international artists to participate in a residency based on Awaji Island. Since then, she has returned twice to study Japanese papermaking: this research was related to her publication,’Papermaking for Printmakers’ which was published by A&C Black, London, in May 2006.As a freelance artist, she has organised and taught printmaking and papermaking workshops at many art centres and schools across Scotland, such as Taigh Chearsabhagh, in North Uist, the Leith School of Art, Edinburgh, and the Hunterian Museum, Glasgow University. She works with children and adults of all ages.
* ELSPETH LAMB (SCOTTISH b. 1951), FIRE lithograph on paper, signed, titled and dated 10/13mounted, framed and under glassimage size 57cm x 77cm, overall size 70cm x 88cmNote: Elspeth Lamb studied at Glasgow School of Art, Manchester Metropolitan University and the Tamarind Institute of Lithography, University of New Mexico USA, her main specialism being printmaking. She is an elected RSA Academician, and an elected member of the Society of Scottish Artists and Royal Glasgow Institute, and has taught several workshops in lithography at the Joan Miro Foundation in Mallorca, Spain. She has won several awards for her work, which is also included in major collections such as the Japanese Consular Collection, The British Council, the MAG Collection, and the Joan Miro Foundation Collection, as well as being represented in several Art Galleries and Museums both in the UK and abroad. For 21 years she taught at the Edinburgh College of Art, latterly as Head of the Department of Printmaking and she has been visiting lecturer at many colleges in the UK including the Glasgow School of Art, Duncan of Jordanstone College Dundee and Middlesex University. She chose to give up all academic teaching commitments in 1999 to pursue her artistic career; a recent one-person exhibition was at A.I.R. Gallery in Chelsea, New York City during 2004. Her most recent residencies have been in Bulgaria, Canada and Newfoundland, and she exhibits regularly at home and abroad. Elspeth studied the art of moku hanga printing in Japan with master craftsmen during 2000, where she was selected to be one of six international artists to participate in a residency based on Awaji Island. Since then, she has returned twice to study Japanese papermaking: this research was related to her publication,’Papermaking for Printmakers’ which was published by A&C Black, London, in May 2006.As a freelance artist, she has organised and taught printmaking and papermaking workshops at many art centres and schools across Scotland, such as Taigh Chearsabhagh, in North Uist, the Leith School of Art, Edinburgh, and the Hunterian Museum, Glasgow University. She works with children and adults of all ages.
C. Miro (20th century) - two patinated bronze overlay sculptures one depicting a couple embracing on stone steps, dated 1991 and numbered 268/3999 on the bronze, gilt metal plaque to front, 13¾in. (35cm.) high; the other depicting a sleeping girl in flowing robes, seated on a tall pedestal, signed, dated 1990 and numbered 236/3999 to bronze, on a marble base with gilt plaque, 13¼in. (33.7cm.) high overall. (2) *Both in good condition, with no faults.
AFTER JOAN MIRO (SPANISH, 1893-1983) - Two lithograph plates from 'Maravillas con Variaciones Acrosticas en el Jardin de Miro', Published as a set of 20 lithographs by Poligrafa, Barcelona in 1975 in an unnumbered edition of 1500 Sight size 48 x 34cm; the frames 104 x 90cm Condition: Condition Report Some foxing to the paper on both examples and some dirt beneath the glass. Not inspected out of frame This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
ANTONI TÀPIES (1923-2012)Marró desplegat 1974 mixed media on canvas laid on board195 by 170 cm. 76 3/4 by 66 15/16 in.This work was executed in 1974.Footnotes:ProvenanceGalerie Maeght, ParisAimé Maeght Collection, Paris/St-Paul de VenceAcquired directly from the above by the previous owner in 1976Gift from the above to the present ownerExhibitedBarcelona, Galeria Maeght, Tàpies, obra recent, 1975, no. 42 Zurich, Galerie Maeght, Tàpies Peintures Gouaches, 1975, n.p., no. 2, illustrated in black and whiteSaint-Paul de Vence, Fondation Maeght, Tàpies, 1976, p. 34, no. 76, illustrated in colourBarcelona, Fundació Joan Miró, Antoni Tàpies (Obra 1956-1976), 1976, p. 102, no. 74, illustrated in colourMadrid, Museo Español de Arte Contemporáneo, Antoni Tàpies Exposición Retrospectiva, 1980, p. 80, illustrated in colourAmsterdam, Stedelijk Museum, Antoni Tàpies, 1980, p. 25, no. 44, illustrated in colour, p. 44, no. 44, illustrated in black and white LiteratureJosé Marín-Medina, Tàpies/Meditaciones/1976, Madrid 1976, p. 127, illustrated in colourAnna Augustì, Tàpies The Complete Works Volume 3: 1969-1975, Barcelona 1992, p. 421, no. 2824, illustrated in colourCompletely fresh to the market and widely exhibited, Marron desplegat, from 1974 embodies Antoni Tàpies' investigations into the use of raw materials to find 'profound wisdom in the simplest of objects' (the artist in: The Unesco Courier, 'Interview with Antoni Tàpies', June 1994, p.5). Executed in the early 1970s, the work comes from a seminal period in the artist's oeuvre. A clear example of Tàpies' matiérisme (matter art) paintings, which he began in 1955, the present work carries thick impasto, created by sand, paper and other everyday earthly materials – features often seen in his mixed media works. His thick textures, plain tones and use of unconventional tools have become characteristic to the artist and are recognisable globally. The textually rich approach, focuses on exploring the transformative qualities of matter. Like in Marron desplegat, this was often seen in the artist's large-scale works, compellingly evoking solidity and depth through the beautifully layered finish.Starting as a Surrealist artist and strongly influenced by Max Ernst, Joan Miro and Paul Klee, Tàpies quickly pivoted towards abstraction and can be credited with introducing abstract art into Spain. He saw his abstract work as a 'mechanism', or in other words, 'a system that makes it possible to change the spectator's way of looking and to bring him or her closer to a state of contemplation of reality at its deepest level', allowing the artist 'to achieve the inner illumination ...[and] perceive the depth of reality' (the artist in: The Unesco Courier, 'Interview with Antoni Tàpies', June 1994, p. 5). As an artist whose personal style carries strong associations to Art Informel, using his medium in non-conforming traditional ways, Tàpies allowed the viewer to understand the power of 'matter' in all its different forms, as seen by the multiple layers peeking through in Marron desplegat.At the time of the present work's execution, Tàpies held a very strong position in the international art scene. Having already had various exhibitions globally in the previous decade, and an important retrospective presented at the Musée National d'Art Moderne in Paris the year before, Tàpies was embarking upon a seminal time in his career. The confidence in his technique and medium is evidently mirrored in his strong and large gestural marks on the work. Unseen by the public in nearly half a century, and variously exhibited all around Europe, including at the Stedelijk Museum in Amsterdam, Antoni Tàpies Marron desplegat is a true testament to the artist's genius. The artist's hand and process of creation is visible in the intended pencil marks peeking through the white paint, and the brown paint drips lyrically falling on the picture plane. Marron desplegat strongly welcomes contradictions with its geometrical earth-toned shapes, alongside deconstructed components and organic forms. These materialise and become alive on the picture plane as abstract and representational concepts interlace, highlighting the artist's balanced relationship between impulsive creation and contextual stimuli. As Tàpies desired to be both the creator and viewer of his art, the symbolic nature of his work is especially ambiguous since he worked in an almost automatic way. The juxtaposition in the present work hints at Tàpies' politically charged upbringing surrounded by Catalan nationalist conflicts and the Spanish Civil war. His art stemmed from creating beauty where there was destruction. By altering connotations linked to dust and rubble – matters which he was surrounded by during his young years and post-war Europe – Tàpies offers visions of hope and positivity. Marron desplegat, embodies a heavy history, and a powerful, sublime mythos of transformation. The natural ephemera of this striking work, openly shows the viewer all its layers of destruction and creation, suffering and reality, and carries with it its exquisite imperfections. Tàpies' standing in the Post-War art canon has been cemented by prices for his works achieving up to seven figures in recent years. His exploration of media and his clever technique to actively engage the viewer, has earned him a reputation as one of the most internationally recognisable abstract artists today.This lot is subject to the following lot symbols: * AR TP* 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.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A BOXED MECCANO MOTORISED SET No.5, (G7505) late 1970's blue and yellow era set, contents not checked but appears largely complete with only one or two smaller items missing, with unused decal sheet and Book of Models No's. 1, 4 and 5, with a boxed Meccano Extension Pack For Sets 1 & 2, from a similar era, box opened but contents still sealed in original damaged polythene, with Book of Models No.3, box damaged, a boxed Meccano Electric Motor Set, No.M2, still sealed in original damaged polythene, minor damage and wear to box, with two boxed Miro/Denys Fisher Tente plastic construction sets, both with all parts still sealed in original plastic bags, some damage to outer boxes, both are for ship models (5)
JOAN MIRÓ (1893-1983)Joan Miro Lithographe IV, 1981 Lithographie en couleurs. Signée et numérotée IV/LXXX au crayon. Ed. Maeght, ParisKleurenlithografie. Getekend en genummerd IV/LXXX in potlood. Ed. Maeght, ParijsColour lithograph. Signed and numbered IV/LXXX in pencil. Ed. Maeght, Paris42.5 x 37 cmFramedFootnotes:[MAEGHT 1257][CRAMER 249]This lot is subject to the following lot symbols: ARAR Un pourcentage supplémentaire sera demander aux acquéreurs pour les lots précédés du symbole AR correspondant aux droits de suite aux artistes en vertu de la réglementation de 2006 sur le droit d'auteur. Veuillez vous référer aux conditions de ventes pour plus de détails.De koper is ons een extra premie verschuldigd ter dekking van onze kosten in verband met de betaling van royalty's krachtens de Artists Resale Right Regulations 2006. Zie onze algemene voorwaarden voor meer informatie.An Additional Premium will be payable to us by the Buyer to cover our Expenses relating to payment of royalties under the Artists Resale Right Regulations 2006. See our terms and conditions for further details.For further information on this lot please visit Bonhams.com
ERRO (Gudmundur Erro dit) (born 1932)A travers: Picasso, Matisse, Léger, Van Gogh, Miro,1994 Portfolio sous emboitage entoilé avec 14 sérigraphies en couleurs. Signées, datées et numérotées 24/200. Ed. GKM GalleriPortfolio met 14 kleuren zeefdrukken in een canvas hoes. Getekend, gedateerd en genummerd 24/200. Ed. GKM GalleriPortfolio in canvas sleeve with 14 colour silkscreen prints. Signed, dated and numbered 24/200. Ed. GKM Galleri30,5 x 23 cm (each)This lot is subject to the following lot symbols: ARAR Un pourcentage supplémentaire sera demander aux acquéreurs pour les lots précédés du symbole AR correspondant aux droits de suite aux artistes en vertu de la réglementation de 2006 sur le droit d'auteur. Veuillez vous référer aux conditions de ventes pour plus de détails.De koper is ons een extra premie verschuldigd ter dekking van onze kosten in verband met de betaling van royalty's krachtens de Artists Resale Right Regulations 2006. Zie onze algemene voorwaarden voor meer informatie.An Additional Premium will be payable to us by the Buyer to cover our Expenses relating to payment of royalties under the Artists Resale Right Regulations 2006. See our terms and conditions for further details.For further information on this lot please visit Bonhams.com
Vier Ausstellungsplakate: Henri Matisse 1950 (Mourlot), Picasso "Toros en Vallauris 1955", Léger Museum Morsbroich-Leverkusen Februar 1955, Picasso "Exposition Vallauris 1955". Alle mit Alters- und Gebrauchsspuren. Ca. 40x 51 cm. Beigegeben: Plakat "Miro Museum Krefeld 1954" (stark fleckig) und Picasso Japan (besch.).
![MIRÓ, Joan(1893 Barcelona - 1983 Palma) "Escultor Portugal"Farblithografie. Im Druck signiert. [1974]. 1 von 3000 Exemplar](https://cdn.globalauctionplatform.com/8dc16d45-a509-4960-8b91-b00300f89be9/88bbde04-7054-4594-acf3-b01a0031bb96/468x382.jpg)
MIRÓ, Joan(1893 Barcelona - 1983 Palma) "Escultor Portugal"Farblithografie. Im Druck signiert. [1974]. 1 von 3000 Exemplaren.Blatt: 20 x 40 cm. Gerahmt & hinter Glas41 x 60 cm. 1 von 7 Motiven aus der Serie "Miró Escultor" (Miró der Bildhauer), die jeweils für ein anderes Land stehen; hier: Portugal Blatt lichtgebräunt.Spanischer Maler, Grafiker und Bildhauer; zählt zu den bedeutendsten Vertretern des Surrealismus; seit 2007 wird zweijährlich der mit 70000 Euro dotierte Joan-Miró-Preis verliehen. "I try to apply colors like words that shape poems, like notes that shape music." (Zitat: JM, in: Joan Miro: Selected Writings and Interviews, M.Rowell, Thames and Hudson, 1987). MIRÓ, Joan(1893 Barcelona - 1983 Palma) "Escultor Portugal"Color lithograph. Signed in print. [1974]. 1 of 3000 copies.Sheet: 20 x 40 cm. Framed & behind glass41 x 60 cm. 1 of 7 motifs from the series "Miró Escultor" (Miró the sculptor), each representing a different country; here: Portugal Sheet light browned.Spanish painter, graphic artist and sculptor; counts among the most important representatives of Surrealism; since 2007, the Joan Miró Prize, endowed with 70000 euros, is awarded biennially. "I try to apply colors like words that shape poems, like notes that shape music." (Quote: JM, in: Joan Miro: Selected Writings and Interviews, M.Rowell, Thames and Hudson, 1987).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
WW2. Sqn Ldr Miro Mansfield Signed Note/Letter Dated 13th March 1970. Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.
Miro, Joan(Barcelona 1893–1983 Mallorca)Blatt aus: "Céramique murale pour Harvard" (Derrière le Miroir). 1961. Farblithographie. Unten rechts in Tusche signiert und datiert: "13/XI/62". Unten links mit Widmung: "pour Lilly Müller amicalement". Blattgrösse 37,7x55,2 cm. Gerahmt.- Blatt minimst gebräunt. Wenig braunfleckig. Wenige Knitter. Leicht dunklere Ränder. Ränder und Ecken minimst bestossen. Mit Mittelfalz, mit Farbfehlstellen. Am oberen Rand mit Riss von ca. 4,5 cm. Verso partiell an allen Rändern an Passepartout montiert. Verso mit Klebrestspuren.
Miro, Joan(Barcelona 1893–1983 Mallorca)"Miro. Obra gráfica". 1978. Farblithographie auf Guarro. 61/99. Unten rechts in Bleistift signiert. Blattgrösse 69,9x50,8 cm. Gerahmt.- Blatt gebräunt. Hellerer Lichtrand. Ränder und Ecken minimst bestossen. Verso am oberen Rand partiell an Passepartout montiert.
6 Plakate Otmar Alt: 3x Otmar Alt und Joan Miro, Wiesloch 1979, eines sign. Alt, zwei stark beschädigt, Risse; Otmar Alt und Joan Miro, Wiesloch 1979, festes Bütten, sign. Alt; Ormar Alt und Joan Miro, Wiesloch 1979, knittrig, eingerissen, angeschmutzt; Otmar Alt Galerie Christine 1988, signiert; dazu Farbserigraphie sign. und betitelt: Poeten und Dichter, im Druck mehrfach knittrig, Bereibungen, angeschmutzt. Stärkere Alters- und Gebrauchsspuren.
3 MappenDerière Le Miroir No. 141, 169 u. 195 DLM 141 Alexander Calder 1898 Philadelphia - 1976 New York Mit 8 (3 doppelblattgr.) Orig.-Lithographien u. 11 s/w Reprod. Orig.-Umschlag mit Farblithographie. Editeur Maeght Paris 1963 38 x 28 cm DLM 169 Joan Miro 1893 Barcelona - 1983 Palma de Mallorca "Miró. Aquarelles - Album Femmes - Ha�-ku" 1967 Mit 2 Farblithografien (inkl. d. org. Umschlag) Editeur Maeght Paris 1967 28 x 28,2 cm DLM 195 Mit Farblithographien von Miró, Calder, Tàpies, Ubac, Bury, Riopelle, Joan Gardi-Artigas, Le Yaouanc; Reprod. nach s/w Lithogr. von Chillida, Palazuelo, Giacometti, Fiedler sowie Reprod. einer Zeichnung von S. Steinberg. Orig.-Umschlag mit Orig.-Farblithographie von Raoul Ubac. Editeur Maeght Paris 1971 38 x 28,2 cm
Derrière Le Miroir No. 139-140Joan Miro 1893 Barcelona - 1983 Palma de Mallorca "Miró et artigas" 1963, im Impressum sign. Miró nit 6 Farblithographien davon 4 doppelblattgross u. 1 dreisetig sowie org. Umschlag. Ex. 76/150, Vélin de Rives Editeur Marght Paris 1963. insges. 39,5 x 29,4 cm (m. Schuber) im orig. Schuber, dieser m. Gebrauchsspuren.
Farblithografie Joan Miró1893 Barcelona - 1983 Palma de Malorca "El Pájaro Migratorio" 1970 u. re. sign. Miro. Exemplar h.c. 1/5. 66 x 51 cm (Blattmaß), o. R. Èdition Louis Broder, París 1970. Wkvz.: Mourlot 651. Untere rechte Ecke mit geglätteter Knickfalte, am unteren Rand 3 kl. Knickspuren, minimaler u. sehr schmaler Lichtrand. Verso an den Ecken mit Resten alter Montage.
Vier Farblithografien Joan Miró1893 Barcelona - 1983 Palma Aus: "Liberté Des Libertés" 1971 je u. re. sign. Miro. Aus dem Buch-Objekt "Liberté des libertés" von Alain Jouffry, hrsg. von Le Soleil Noir, Paris 1971. Exemplare 35/125. Je 46,5 x 34,5 cm (Blattmaß). Wkvz.: Maeght 747, 748,749, 750.
Farbradierung Joan Miró1893 Barcelona - 1983 Palma Aus: "Liberté des Libertés" 1971 u. re. sign. Miro, verso an den Ecken auf grauen Auflagekarton montiert. Aus dem Buch-Objekt "Liberté des libertés" von Alain Jouffry, hrsg. von Le Soleil Noir, Paris 1971. Exemplar 35/125. Auf Velin, 38,5 x 28,3 cm (Blattmaß), o. R. Druckerei: Arte Adrien Maeght, Paris. Wkvz.: Dupin 541.
Five Publications Tony O'Malley: Island and Ocean, Recent Paintings from The Bahamas. Exhibition catalogue. Published by Newlyn Orion 1986.Miro: Sculptures. Exhibition catalogue. Royal Scottish Academy, Edinburgh 1992.Techniques of The Truro Pottery. Peter C. D. Brears.F. W. Jackson 1859-1918. Exhibition catalogue. Rochdale Art Gallery and Chapel Bank Gallery 1978/79.Winter Exhibition: Celebrating 15 years at The Richmond Hill Gallery. Exhibiton catalogue. Richmond Hill Gallery 2012.
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