A large cast and wrought iron and lead weathervane,19th century and later, with a pierced flag-shaped indicator over a knopped lead and open cast iron base,70cm wide70cm deep320cm highThis Victorian weathervane features a new, purpose-built stand, transforming it into a stunning centrepiece for the garden. Originally made for a country house in Exeter, it features its original lead body, which has been internally strengthened with a central rod and cement. A master blacksmith has used traditional methods to make a new top with a pennant and steel directionals, able to stand proud against the wind once more. Condition report: This lot was featured on 'Salvage Hunters: The Restorers' (Discovery Network - Quest).Salvage Hunters: The Restorers is a popular prime time show broadcast on the Discovery Network (Quest), where industry experts seek out lots in need of a little TLC and restore them to their former glory. We are delighted to now offer these restored lots for sale. The lots here are presented with stills from the programme.All details were true at the time of transmission. All items are bought as seen at the auction only and Discovery Corporate Service Limited and its affiliates make no representations or warranties as to the condition, suitability or at all in relation to any lot offered for sale; and no further documentation can be provided. All valuations stated herein are given by Sworders Fine Art Auctioneers at the time of printing, please note that these may differ to the valuations given to the items within the programme which was broadcast at an earlier time.Lead collar bent and misshapen. The whole thing has recently been restored as part of a television programme. Patinated with oxidisation to the modern wrought iron base. Top rotates well, as it should.
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A Victorian-style painted cast iron fountain, 20th century, with three graduated gadrooned basins supported by a fluted column, raised on a base set with three pious pelicans, 108cm diameter 255cm highProvenance: Professor John Hedgecoe, Oxnead Hall, Norfolk, thence by descent.Professor John Hedgecoe was a British photographer and author, who established the photography department at the Royal College of Art in 1965. His photographs appear in the permanent collections of the Museum of Modern Art, New York, as well as the National Portrait Gallery, London. In 1967, Hedgecoe photographed the profile shot of Her Majesty the Queen for the postage stamp, which is one of the most widely reproduced images in history.
A cast iron campana garden urn, 20th century, the egg and dart detailed rim above a relief-cast body decorated with a figural procession, on a spreading base, 85cm diameter 118cm highProvenance: Professor John Hedgecoe, Oxnead Hall, Norfolk, thence by descent.Professor John Hedgecoe was a British photographer and author, who established the photography department at the Royal College of Art in 1965. His photographs appear in the permanent collections of the Museum of Modern Art, New York, as well as the National Portrait Gallery, London. In 1967, Hedgecoe photographed the profile shot of Her Majesty the Queen for the postage stamp, which is one of the most widely reproduced images in history.
Pop Art - - Robert Indiana. (1928 New Castle, Indiana (USA) - 2018 Vinalhaven, Maine (USA)). LOVE. Siebdruck auf starkem Karton. Um 1967. 74 x 73 cm. Verso etwas gebräunt. Am Außenrand teils minimal berieben. Am rechten u. unteren Außenrand mit minimalen Farbausbrüchen und Knickspuren, an der linken Ecke am Außenrand minimal bestoßen. Sheehan 39. - Die Farben kräftig und leuchtend. Variante des 1967 von Indiana veröffentlichen Siebdrucks in einer Auflage von 250 Exemplaren von Multiples Inc. "Indiana originally intended this print to be published in an unlimited edition accessible to collectors of more modest means. It is based on the painting LOVE of 1966 (Indianapolis Museum of Art)" (Vgl. Sheehan). Zu dieser Formatvariante des Blattes vgl. auch Swann, Modern and Contemporary Art, Sale 2431 - Lot 135. Silkscreen print on strong cardboard. Somewhat browned at the back side. At the outer margin minimally rubbed. At the right outer margin with minimal color break, at the left corner at the outer margin minimally bumped. Sheehan 39th - The colors strong and bright. Variation of the silkscreen published by Indiana in 1967 in an edition of 250 copies by Multiples Inc. "Indiana originally intended this print to be published in an unlimited edition accessible to collectors of more modest means. It is based on the painting LOVE of 1966 (Indianapolis Museum of Art)" (cf. Sheehan).On this format variant of the sheet, see also Swann, Modern and Contemporary Art, Sale 2431 - Lot 135.
3 Paul's Model Art 1:24 'First Class Collection' Mercedes-Benz Racing/Sports Cars. A 300SLR 'Stirling Moss 1955'. RN722, first raced at the Mille Miglia 1955 and Stirling Moss and Co driver Dennis Jenkinson won in record time. Plus 300SLR 1955 Le Mans, RN19 the last race the 'Silver Arrows' entered before the modern era. Together with a 300SLR Uhlenhaut Coupe 1955, a special bodied version based on the race car design. All in finished in metallic silver, with fully detailed interiors, spoked wheels with black rubber tyres. All boxed, with packing and information sheets. Vehicles VGC some display wear and cleaning required. One rear badge has glue residue. £150-200
Original vintage advertising poster for the Exhibition 'Miro,' Louisiana Museum of Modern Art, Humlebaek (Denmark) running 9.11.75 - 13.1.75. The print is a bold abstract design with consecutive blue red and black circles reminiscent of the eyes on peacock feathers, with Miro written underneath. Joan Miro (1893-1983) was a Spanish painter, sculptor and ceramicist. Influenced by surrealism, fauvism and expressionism, his vibrant child-like designs express his fascination with the unconscious and subconscious mind. Excellent condition, minor creasing. Country of issue: Denmark, designer: Joan Miro, size (cm): 66x49, year of printing: 1975
Original vintage exhibition poster for a Pierre Alechinsky At the Printing House exhibition at Louisiana Museum of Modern Art, Copenhagen. The poster features a lithograph by Alechinsky (b.1927) showing a grid with landscape scenes in each square in greens, browns and oranges. The central square of the grid has Louisiana written in it, along with the exhibition dates 18.12.1976/16.1.1977 and Alechinsky’s signature. Excellent condition. Country of issue: France, designer: Pierre Alechinsky, size (cm): 85x60, year of printing: 1976
Original vintage advertising poster for Alberto Giacometti artwork exhibition organised by Fondation Maeght a French museum of modern art, held in Louisiana from August 21 to October 10, 1976. The poster features two large and thin sculptures in the iconic style of Swiss sculptor, painter, draftsman and printmaker Alberto Giacometti (1901-1966). Good condition, tears, creasing. Country of issue: France, designer: Unknown, size (cm): 85x62, year of printing: 1976
Original vintage exhibition poster advertising a Centenaire de Fernand Leger exhibition at Galerie Felix Vercel 14 May - 11 July, 9 avenue Matignon - Paris 8th arrondissement. The poster features Leger's Study for the Two Lovers - a line drawing of a couple, one in a hat and suit, the other holding a rose, on a colourful background of orange, yellow, pink and blue blocks. A French painter, sculptor and film-maker, Leger (1881-1955) is considered the forerunner of pop art due to his bold style and modern subject matter. Excellent condition, minor crease on the left corner. Country of issue: France, designer: Fernand Leger, size (cm): 70x48, year of printing: 1981
Original vintage exhibition poster for an exhibition of Roy Lichtenstein’ work at the Louisiana Museum of Modern Art in Copenhagen. The poster features Lichtenstein’s eye-catching pop art painting Figures in Landscape (1977) which shows a red-haired woman in profile in front of a highly patterned composition of shapes, fragments of a woman’s face, a column, shells and a sailing boat on the sea. Horizontal. Excellent condition. Country of issue: Denmark, designer: Roy Lichtenstein, size (cm): 70x100, year of printing: 2003
Original vintage advertising poster for an exhibition of French artwork in Copenhagen - Hommage to French Art. From Courbet to Soulages. French drawings from the Louvre Museum of Modern Art, Paris. The Royal copper engraving collection. Kunstmuseets Anneks - Kastelsvej 18 - Copenhagen. 3 June - 30 July 1937 - Daily 10-5. Closed Mondays. The featured image is a 1947 engraving by Matisse depicting a boy wearing a shirt gazing off to the side with his chin resting on his fist. Fair condition, staining, tears, paper losses, creasing. Country of issue: Denmark, designer: Matisse, size (cm): 84x62, year of printing: 1967
Original vintage exhibition poster for Robert Indiana at the Louisiana Museum of Modern Art, Copenhagen - 19 February - 12 March 1972. The striking design shows the word LOVE written in bold white font on a red and blue background with LO stacked above the VE. Robert Indiana (1928-2018) first created his iconic LOVE print for the Museum of Modern Art’s 1965 christmas card. It later formed the basis of his 1970 Love sculpture and the widely distributed United States Postal Service LOVE stamp in 1973. Excellent condition, minor creasing. Country of issue: Denmark , designer: Unknown, size (cm): 85x62, year of printing: 1972
Frederick Scott - Hille International - System Supporto Task Chair - A superb retro vintage mid 20th Century 1970's aluminium and black leather swivel office desk chair / armchair having a polished aluminium frame with sculptural armrests with leather pads. All being raised on a five point star castor base. Labels to the underside for 'The Design Council' and makers mark. The chair featured in the Design Museum Century Of Chairs Exhibition, only chair of it's kind in the permanent collection of the museum of Modern Art. Condition; backrest slightly loose, over all a good example. Measures approx; 99cm x 59cm x 48cm.
Aidan Shingler - Beyond Reason - A late 20th Century modern art expressionist / schizophrenia piece being set within a red painted framed with glazed panel front. The piece showing a well used artists palette with tube of antiseptic cream and paint brush with white ground. This lot comes with a signed Beyond Reason book. Condition; age related wear, overall good. Measures approx; 54cm x 68cm.
Don Jones (1923 - 2015) - A pair of original retro vintage 20th Century modern art signed limited edition prints. Both of geometric form with one in red signed and numbered 46/50 & one in yellow signed and numbered 38/50. Both measures approx 60cm x 46cm. Both rolled and in good condition. Posted by tube on request.Don Jones was an American artist and art therapist, fourth American Art Therapy Association (AATA) President, Honorary Life Member of AATA, and one of five founders of the American Art Therapy Association
Timothy Oulton - Mars Chair - A contemporary 21st Century high end modern design polished aluminium framed aviators style arm chair club armchair. Heavy influenced by Art Deco designs with black leather seat and back with chrome frame. No visible makers marks. Some minor wear but in good condition, underside fabric has been ripped. An impressive piece.
Sherree Valentine-Daines, Sunkissed Memories, limited edition print, 40.6cm x 33cm, framed. Sherree Valentine-Daines enjoys a position at the forefront of British art and has done for many years. She has been variously described as 'the face of modern British impressionism', 'artist to the stars' and 'the finest figurative artist we have in the UK'. Technically brilliant, stylistically virtuosic, and endlessly vigilant, she creates masterly evocations of some of the most beautiful elements of life. Commissioned by her majesty the queen to paint her at the races, Sherree's work now hangs, not only at Windsor castle but also in other major collections around the world. If you require more information in regard to this item please contact Joanne Bartholomew at joanne@bornfree.org.uk
Born in Turks and Caicos Bradley Theodore is a contemporary artist who started his career in New York City and has been an internationally-inclined artist and collaborator from his very beginnings. Having worked in the tech and design sector after his graduation from the School of Visual Arts, Theodore eventually moved back to New York where his artistic career took off. With roots in graphic design, Theodore's beginnings as an artist came from adorning the streets of New York City with vibrant, chromatic murals of skeletons depicting contemporary pop culture and fashion - royalty. Bradley Theodore is known for his colorful paintings and prints of fashion icons. He is a multi-disciplinary artist whose iconoclastic approach to art can be found internationally, from 10-foot murals on the streets of New York, Tokyo, and Milan, to sold-out solo exhibitions in London. Evoking the universality of color, skeletons, and celebrity, Bradley Theodore distills figures to skeletal forms, a confrontation that the artist calls 'an act of living', pushing color to express memory, emotion, and lived experiences. Theodore's portraits juxtapose the legendary and mortal qualities of modern and contemporary fashion icons and the artist has become a staple in the art and fashion scene in New York City. Theodore has collaborated with popular creatives and brands including Moët, Rolls-Royce, and Moleskine. In 2016, Bradley was the official artist for the US Open, where he created four murals on display at the tournament's venue; and was the subject of independent film 'Becoming: Bradley Theodore', which premiered at the Tribeca Film Festival. In 2017, Google invited Theodore to their Artist in Residence program (AiR), where he employed the tech giant's Tilt Brush tool to create art in another dimension and invite viewers to experience his creations in a more intimate way. In 2018 for the 50th anniversary of PUMA's Suede shoe, Bradley designed a limited edition series of sneakers and garments, which was followed by a second Spring/Summer 2019 collaboration with the sneaker giant which debuted to sold out success. 2020 saw the Artist turn his focus to supporting climate-change focused organizations including Project Zero and the Turks and Caicos International Film Festival, as well as a limited edition designed bottle of Haig Club Whiskey in collaboration with David Beckham. If you require more information in regard to this item please contact Joanne Bartholomew at joanne@bornfree.org.uk
Hooper, David und Kenneth Whyld. The Oxford Companion to Chess. (With corrections). Oxford und New York, Oxford University Press, 1987. 8°. Mit Textabb. und Diagrammen. 2 Bll., 407 Seiten. Orig. geheftet. (44) * Oxford Paperback Reference. Zustand: Umschlag verblichen. Beiliegen: Horton, B. J. Dictionary of modern chess. New York, Philosophical Library, ca. 1959. 8°. Mit Diagrammen. XI, 1 Bl., 224 Seiten. Orig. Pappband. Zustand: Innen etwas gebräunt. / Roesler, M. Chess In Art. Paintings & Watercolors. Davenport, Chessco, 1973. 8°. 35 Seiten. Orig. geheftet. Zustand: Innen etwas gebräunt. Umschlag verblichen.
George (Stefan) & Karl Wolfskehl, editors. Deutsche Dichtung, one of 400 copies designed by Melchior Lechter, printed in red, blue and black with Art Nouveau illustrations and decorations, with prospectus loosely inserted, original printed wrappers, uncut, a little rubbed and browned, slightly frayed at edges, Berlin, 1900 § Barrès (Maurice) La Mort de Venise, one of 160 copies on vélin de vidalon, printed in red and black, etchings by Henry de Waroquier, one double-page, loose as issued in original wrappers, uncut, original board folder and slip-case (a little rubbed), Lyons, Cercle Lyonnais du Livre, 1936 § Schlumberger (Jean) Épigrammes Romaines, one of 200 copies on Arches, signed presentation copy from the author inscribed on half-title, colour wood-engraving by Maurice Denis, original calf, t.e.g., others uncut, slightly scuffed, board slip-case, Paris, 1910 § Balzac (H. de) Paris Mari: Philosophie de la vie conjugale à Paris, one of 800 copies, pochoir illustrations by Ch. A.Edelmann, late half calf, spine gilt, split to upper joint, Paris, 1944; and 14 others, modern continental, mostly illustrated, v.s. (18)
ELIOT (T.S.)Murder in the Cathedral, FIRST EDITION, AUTHOR'S PRESENTATION COPY TO E. McKNIGHT KAUFFER, inscribed 'for E. McKnight Kauffer by T.S. Eliot 11.vi.[19]35' on the front free endpaper, light spotting to endpapers, publisher's blue cloth, gilt lettered on spine, spine faded and rubbed at extremities, 8vo, Faber and Faber, [1935]Footnotes:First edition, inscribed in the month of publication by Eliot to his close friend, the American-born artist Edward McKnight Kauffer (1890-1954). Best known for his posters designed for London Underground, Kauffer supplied the cover artwork to Eliot's Journey of the Magi (1927), Marina (1930) and Triumphal March (1931), and of him Eliot wrote he 'did something for modern art with the public and something for the public with modern art' (British Library website).This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
CHISWICK PRESS - FLORENCE PAGETMORRIS (WILLIAM) An Address Delivered... at the Distribution of Prizes to Students of the Birmingham Municipal School of Art, 1898; Art and the Beauty of the Earth, 1898; Some Hints on Pattern Designing, 1899; Architecture and History, and Westminster Abbey, 1900; Art and Its Producers, and the Arts & Crafts of Today, 1901, 5 works in 1 vol., bound in green crushed morocco by Florence Paget (signed 'F.P. 1907' in gilt at rear), sides with wide borders of three gilt double rules containing flowering vines and tulips with 12 open flowers, spine with five raised bands and six compartments, one lettered in gilt, the other five with similar gilt motif as covers, binding edges with a single gilt fillet rule, green morocco gilt turn-ins with further rules and flowers at corners, g.e., 8vo, Chiswick PressFootnotes:A FINE ARTS AND CRAFTS BINDING BY FLORENCE PAGET.Paget was a pupil of Douglas Cockerell, and exhibited at the Arts and Crafts Exhibition Society in 1899. In 1902 she was chosen to bind the copy of the Form and Order of Service which King Edward VII used at his Coronation, and which is in the Royal Collection. According to Sarah Prideaux in Modern Bookbindings, she did 'good honest work of a comparatively simple nature', and Marianne Tidcombe refers to Paget's 'tastefully designed gold-tooled bindings', illustrating an example of her work on a Vale Press volume (Marianne Tidcombe, Women Bookbinders, 1996, pp.162-63).Provenance: Helen of Greece and Denmark, bookplate as Queen Helen the Queen Mother of Roumania.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
MODERN ART: small collection of exhibition prospectuses and related, including Bridget Riley 'Fragments' at the Robert Fraser Gallery 6 (of 7) screenprints on plexiglas printed by Kelpra Studio in December 1965, in original folder, also exhibition catalogues for Paul Nash, Epstein, Seattle, Yves Klein and Henry Moore, plus film transparencies from the V&A, Serpentine Gallery, Barbican, etc. (Small quantity)
MODERN ART: NASH (Paul): 'Paintings, Drawings & Illustrations...edited by Margaret Eates...' London, Lund Humphries, 1948: 4to, publishers green cloth with dustjacket, minor wear else VG: HITCHCOCK (Henry-Russell): 'In the Nature of Materials, 1887-1941..the Buildings of Frank Lloyd Wright..' New York, 1942: square 4to, publishers red cloth with dustjacket, some chips and wear but a good copy: GRASS (Gunter): 'Fundsachen fur Nichtleser...' Steidl, 1947: folio, VG in dustjacket: with extensive pencil inscription to Grass to title page, dated Gottingen 5th Feb 1999: together with a large carton of other modern art reference, some signed, generally in very good condition. (A box)
A large heavy and modern Art Glass vase of high bowl form; various applied swirling abstract-style decoration, signed and dated 'Norman Stuart Clarke, 93' (21.5cm high x 22cm diameter)Condition Report: There is damage to this piece although some minor scratches to the underside of the foot as expected but no chips, cracks or restorations etc.
Maurice Utrillo, 1883 Paris – 1955 DaxLA PLACE DU TERTRE À MONTMARTRE, 1920 – 1922 Öl auf Leinwand. 46 x 61 cm. Rechts unten signiert „Maurice. Utrillo, V.“. In vergoldetem barockisierendem Rahmen.Ein Platz der trapezförmig nach rechts zuläuft ist von mehreren Bäumen bestanden, deren Grün den Passanten, die sich dorthin vor der senkrecht stehenden Sonne geflüchtet haben, Schutz bietet. Die Vertikalen der Baumstämme und die dazwischen gesetzten stehenden Staffagefiguren kontrastieren mit den Horizontalen, die durch die Etagenbegrenzungen der umstehenden Häuser gebildet werden. Diese architektonischen Gebilde gehören zu Utrillos Lieblingswerkzeugen, werden in diesem Gemälde jedoch von der domestizierten Natur beherrscht. (†)Provenienz: Kurt Sponagel-Hirzel, Zürich, 1955. Schweizer Privatsammlung. Sotheby’s, London, 25. März 1992, Lot 62. Anmerkung: Der Platz ist einer der Lieblingsmotive Utrillos am Montmartre. Literatur: Pierre Courthion, Montmartre, Lausanne 1956, S. 118 und 142 (abgebildet auf S. 118). Paul Pétridès, L’oeuvre complet de Maurice Utrillo, Bd. II, Paris 1962, Nr. 901, S. 320 (abgebildet auf S. 321 mit nicht korrekten Maßen). Ausstellungen: Basel, Kunsthalle, Maurice Utrillo. Graphische Blätter von Corot und Daumier, Juni-Juli 1942, Nr. 205. Vevey, Musée Jenisch, Maurice Utrillo, Valadon, Modigliani, Utter, Juli-September 1955, Nr. 50, S. 24 (mit inkorrekten Maßen). München, Haus der Kunst, Maurice Utrillo V., Suzanne Valadon, Juni-September 1960, Nr. 77, S. 12 (abgebildet Tafel 39). Bern, Kunstmuseum, Utrillo, Januar-März 1963, Nr. 69. Tokyo, Seiji Togo Memorial Sompo Japan Museum of Art, Maurice Utrillo, April-Juni 2010, Nr. 23, S. 55 (abgebildet), Wanderausstellung. Nigata, The Nigata Prefectural Museum of Modern Art, Juli-August 2010. Kyoto, Museum Eki Kyoto, September-Oktober 2010. Aichi, Toyohashi City Museum of Art & History, Oktober-Dezember 2010. (12711611) (13)Maurice Utrillo 1883 Paris – 1955 DaxLA PLACE DU TERTRE À MONTMARTRE, 1920 – 1922Oil on canvas.46 x 61 cm.Signed “Maurice. Utrillo, V.” lower right. (†)Provenance:Kurt Sponagel-Hirzel, Zurich, 1955.Private collection, Switzerland.Auction Sotheby’s, London, 25 March 1992, lot 62.Notes:The square is one of Utrillo’s favourite subjects at Montmartre.Literature:P. Courthion, Montmartre, Lausanne, 1956, pp. 118 & 142 (ill. on p. 118).P. Pétridès, L’oeuvre complet de Maurice Utrillo, vol. II, Paris, 1962, no. 901, p. 320 (ill. on p. 321 with incorrect dimensions).Exhibitions:Basel, Kunsthalle, Maurice Utrillo. Graphische Blätter von Corot und Daumier, June - July 1942, no. 205.Vevey, Musée Jenisch, Maurice Utrillo, Valadon, Modigliani, Utter, July - September 1955, no. 50, p. 24 (with incorrect dimensions).Munich, Haus der Kunst, Maurice Utrillo V., Suzanne Valadon, June- September 1960, no. 77, p. 12 (ill. panel 39).Bern, Kunstmuseum, Utrillo, January - March 1963, no. 69.Tokyo, Seiji Togo Memorial Sompo Japan Museum of Art, Maurice Utrillo, April - June 2010, no. 23, p. 55 (ill.), touring exhibition.Nigata, The Nigata Prefectural Museum of Modern Art, July - August 2010.Kyoto, Museum Eki Kyoto, September - October 2010.Aichi, Toyohashi City Museum of Art & History, October - December 2010.
HERBERT BEYER, WALTER GROPIUS, ISE GROPIUS, "Bauhaus 1919 - 1928" Georg Allen & Unwin, Ltd. London. 1939. 26 x 19,5 cm. 224 Seiten im einfarbigen Leineneinband, vom Verlag eingebundener Korrekturbogen. In englischer Sprache Rücken etwas aufgerieben, Einband verschmutzt. Inhaltlich identisch mit dem Ausstellungskatalog des Museum of Modern Art.
HERBERT BEYER, WALTER GROPIUS, ISE GROPIUS, "Bauhaus 1919 - 1928" Ausstellungskatalog Museum of Modern Art. New York. 1938. 26 x 19,5 cm. 1. Auflage. 224 Seiten mit zahlreichen Abbildungen, in englischer Sprache. Gelber Leineneinband mit schwarzer und roter Schrift: "Bauhaus Weimar 1919 - 25 Dessau 1925 - 28" Einband etwas verschmutzt, Vorsatz stockfleckig, wenige Seiten kleben teilweise durch frühere Feuchtigkeit zusammen.
Attributed to William Burges (British, 1821-1881): An impressive enamelled, polished semi-precious stone and ivory inset parcel gilt and silvered bronze centrepiece base together with a polished semi-precious stone and ivory inset parcel gilt and silvered bronze upper sectional epergne support ensuiteby Hart, Son, Peard & Co., London in the later Gothic Revival style, circa 1875, the two parts originally from a centrepiece epergne exhibited at the 1878 Paris International Exhibition the base of architectural tripartite pedestal form, the conforming columnar support with cusped column decoration surmounted by a composite Corinthian capital with leafy and whorl decoration and punctuated by a knopped central section with applied beaded and banded agate cabochon set scrolling filigree decoration and three carved ivory busts depicting a king, a maiden and youth playing a lute, the elaborate hipped base of architectural form formed as three arched openings with circular steeple tower pinnacles surmounted by open filigree and turquoise cabochon inset orbs flanked by crocketed finials, the scrolling filigree and whorl decorated sides banded to the edges by black and white chevron enamelled panels with inset carnelian cabochons, the lower corners modelled as circular domed towers above inset square cornelian panels, the lower frieze with alternating pierced and blue enamel square motif decoration, raised on standing silvered lion passant supports; the upper section with flared scrolling open pierced filigree and lapis and banded agate cabochon inset supports terminating in stylised leafy griffins heads, beneath a border of six inset carved ivory panels depicting food related vignettes, comprising a boars head, a swan, a carp, a turtle, a truckle of cheese and an oval pie, the upper girdle supporting a cut glass dished lobed shallow bowl fitting with panelled star cut centre, the hexagonal columnar support below a filigree and whorl knopped section with lions mask heads, raised on a later fixed black painted stepped hexagonal support, the glass bowl of the upper support probably associated, its fixed stand of a later date, the base, 57cm high, 38cm diameter approximately, the support 28cm high, the support including bowl and later base, 41.5cm high overall (2)Footnotes:Upper Epergne SectionProvenanceJ. S. M. Scott, London - the Birkenhead CollectionWith the Fine Art Society, 148 New Bond Street, London W1S 2JT - purchased by the present vendor, The John Scott Collection 'Modern English' Design from the 1860's and 1870's, 11th June 2014 (4, Epergne fragment - INV 34276).With the Victoria & Albert Museum, Cromwell Rd, London SW7 2RL (loan) prior to March 2021ExhibitedParis International Exhibition, 1878.The Fine Art Society, The John Scott Collection 'Modern English' Design from the 1860's and 1870's, June-July 2014 (4).LiteratureThe Art Journal Illustrated Catalogue of the Paris International Exhibition 1878, p.115.The Fine Art Society, The John Scott Collection 'Modern English' Design from the 1860's and 1870', Exhibition Catalogue 2014 (4), p.16.Centrepiece BaseProvenancePrivate UK collection.With RIBA, 66 Portland Pl, London W1B 1AD (on loan) prior to August 2014.Purchased (private treaty sale) by the present vendor in conjunction with Haslam & Whiteway Ltd (advisors), Kensington Church Street, London W8 7NL, 15th September 2014 (INV 6491).With the Victoria & Albert Museum, Cromwell Rd, London SW7 2RL (loan) prior to March 2021.ExhibitedParis International Exhibition, 1878.LiteratureThe Art Journal Illustrated Catalogue of the Paris International Exhibition 1878, p.115.M. Whiteway & C. Gere, Nineteenth-Century Design; From Pugin to Mackintosh, London 1993, p.175.At the time of his death in 1881, the esteemed architect and designer William Burges was widely thought to be the most influential and gifted figure of his generation. An unstable and extravagant eccentric, he was a brilliant pre-Raphaelite architect who pursued his artistic goals via an idealised vision of the past. In his work he sought to escape from both modern industrialisation and the prevalent Neoclassical architectural style of the establishment and re-affirm the architectural and social values of a utopian medieval England. Standing within the tradition of the Gothic Revival, his works echo his predecessor Pugin and his contemporaries of the pre-Raphaelite brotherhood, whilst heralding those of the Arts and Crafts movement.In a short but illustrious career he won his first major commission for Saint Fin Barre's Cathedral in Cork in 1863 when he was thirty five working with a long established team of craftsmen and artisans he produced a small but architecturally varied output including castles, houses, churches, a warehouse, a university and a school, although many of his designs were either never executed or subsequently demolished. Of Burges's works, his most notable are Cardiff Castle, constructed between 1866 and 1928, and Castell Coch constructed between 1872 and 1891, both of which were built for John Crichton-Stuart, 3rd Marquess of Bute. Aside from his architecture, Burges also designed metalwork, sculpture, jewellery, furniture and stained glass. He also gave a series of lectures called 'Art Applied to Industry' to the Society of Arts in 1864, illustrating the breadth of his artistic interests. Burges was a notable designer of Gothic-inspired metalwork and jewellery and who is now seen as the successor to architect and designer A.W.N. Pugin in refining and developing the Gothic revival style. In his book, William Burges and the High Victorian, the author and art critic Prof. J Mordaunt Crook states that 'Burges's genius as a designer is expressed to perfection in his jewellery and metalwork'. He produced a 'dazzling' array of religious artefacts including candlesticks, chalices, crosses either as individual commissions or as part of the decorative schemes for buildings. Burges also had an early and close connection to the Ecclesiological Society taking on the role of superintendent of the Society's church plate scheme in 1864. However, his most notable metalworks were created for himself, often from the proceeds of the winning of an architectural competition. Examples include his Elephant Inkstand and a pair of jewelled decanters, paid for by the fees for the plans of the Crimea Memorial Church and his series of lectures, 'Art Applied to Industry', and the Cat Cup, created in commemoration of the Law Courts competition. He also designed more utilitarian articles including silverware featuring various fantastical creatures including mermaids and spiders and a set of knives and forks specifically designed for his own residence, The Tower House, with the handles carved as types of meat and vegetables. His own large collection of historic armour was subsequently bequeathed to the British Museum upon his death. Hart, Son, Peard & Co. (1842–1913) were British architectural metalworkers basedin London and Birmingham most associated with the production of ecclesiastical works.Founded in 1842 in Wych St, off The Strand, by bible-trained ironmonger Joseph Hart who was also a member of the Ecclesiological Society, they became artistic metalworkers specialising in ecclesiastical manufactures after merging with Birmingham-based Peard & Jackson in 1866–67. Also skilled in sculpture and with an agent in Paris, Henri Collet, the firm made Burges designs by J.P. Seddon, B.J. Talbert, Alfred Waterhouse and William Butterfield. and importantly had a long-sta... This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com
Augustus Welby Northmore Pugin (British, 1812-1852): A rare silvered and gilt plated brass and copper three light candelabrumby John Hardman & Co., Birmingham, in the Gothic Revival style, circa 1840the twin spiral scrolling arms flanking a matching central stem supporting bulbous gadrooned drip pans with scalloped plain galleries centred by plain cylindrical candle nozzles, all issuing from a central decorative roundel with applied engraved shields bearing the assumed and unrecorded coat of arms for the Hardman family, on corresponding knopped gadrooned support and swept swirling gadrooned cusped circular base, 80cm high, 55cm wide, 24cm deep approximatelyFootnotes:ProvenanceJohn Hardman Snr., made for John Hardman Jnr. (1812-1867), thence by descent.Neil Phillips, John Hardman Studio, Lightwoods House, Birmingham.With the Fine Art Society, 148 New Bond Street, London W1S 2JT - purchased by the present vendor, 21st February 2013 (INV 33052).LiteratureThe Journal of Design and Manufactures, II, 1849, p. 52.P. Atterbury & C. Wainwright (eds), Pugin - A Gothic Passion, Exhibition Catalogue, Victoria & Albert Museum 1994, pub. Yale University Press, p. 237, pl. 44. ExhibitedExhibition of Industrial Arts and Manufacturers, Birmingham, 3rd September to 15th December 1849.Arguably one of the most talented and prolific designers of the 19th century, A.W.N. Pugin was an architect, draughtsftsman and designer, antiquary and collector, and artist and critic. Today he is recognised as the trailblazing pioneer of the revival of the Gothic style in Great Britain with a modus operandi derived less from a mere aesthetic but more from exacting religious and moral principles. As the architect of numerous high-profile public and domestic ecclesiastical and secular building commissions in England, Ireland, and Australia, he was also responsible for their interiors and furnishings, collaborating with several individually chosen manufacturers on the design and production of furniture, ceramics, books, textiles, wallpapers, and as with the present lot, metalware. However, his defining commission for the interiors of the Palace of Westminster was ironically instigated via a competition for the commission made by the architect Sir Charles Barry who turned to Pugin for his assistance with the drawings for the proposal. Initially the young Pugin was paid £400 by Barry for assisting with preliminary drawings but as the construction of the Palace progressed, Barry began to rely more heavily on him for the design and execution of the interior furnishings and fittings which ranged from the wall panelling and colour schemes down to the metalwork including the lighting and the door furniture. Pugin's earliest ventures into designing for the medium of metalwork were in the mid 1820's when he met the goldsmith John Gawler Bridge of Rundell, Bridge and Rundell. However, as the company were known for their revivalist historical styles including Rococo and 'Romanticised Gothic', their output was never particularly authentic and consequently few, if any, of Pugin's designs were probably ever realised, despite the existence of archival evidence of sketches showing his involvement with the company. John Hardman & Co. and John Hardman JuniorIn 1835, Pugin's conversion to Catholicism finally provided him with an opportunity to design and produce more purist metalwork pieces whilst undertaking a commission for the seminary of St Mary's College, Oscott. It was at the seminary that Pugin most likely met John Hardman Junior who was a member of a prominent Roman Catholic metalwork manufacturing family, John Hardman & Co. in Birmingham. Hardman Junior and Pugin became close friends sharing a commitment to the revival of their religion and practice. Their subsequent collaboration was responsible for bringing to fruition the majority of Pugin's important designs for precious and base metalwork pieces.Although the pair concentrated on recreating archaeological metalware designs of cathedral and church furnishings, few resources existed documenting domestic metalware forms in the Medieval period. As Pugin had previously dismissed the random application of perceived period detail applied superficially as 'patterns of Brumagen gothic' he was not inclined to 'imagined' Medieval objects to fill a gap in the market. However, he and Hardman inventively produced vessels and lighting of a type that would naturally satisfy this gap. Although it is estimated that as much as 95% of the church and other metalwork supplied by John Hardman & Co were in base metals, most of it being in brass in conjunction with copper, nickel or 'German silver ,' the quality of the gilding and silvering was so good it was often apparently extremely difficult for the firms' patrons to establish if the piece was made in a precious metal, in a base one or constructed in both materials. As a result of increased orders, including those from Charles Barry for the Palace of Westminster (all in base metal) which continued throughout the 1840s, Hardman Junior, although a partner in his father's metalworking company subsequently set up his own firm to provide 'Ecclesiastical Ornaments' from 1838. Continued important commissions and the preparation for the Birmingham Exhibition in 1849 and 1851 Great Exhibition also kept the business at full capacity during this period.In 1849 John Hardman & Co. worked alongside Crace and Co. and Herbert Minton, all of whom collaborated with Pugin at the Birmingham Exhibition of Manufacturers which was held in September of that year where the present lot was shown. An engraved plate with the inscription '(Altar Plate manufactured by Hardman & Co.; Silk Hanging by Crace and Son, London)' shows the candelabrum as the centrepiece of the display and was illustrated in the 'The Journal of Design and Manufacturers, II, 1849, p. 52. Although apparently conceived as an altar candelabrum, its Hardman Family provenance combined with the inclusion of an engraved decorative device assumed to be the unrecorded coat of arms for the Hardmans, demonstrate that its use was almost certainly exclusively secular. The arms were most likely designed by Pugin, who had previously created similar undocumented devices more for aesthetic purposes than from any recognised principles governed by the College of Arms. Indeed this imagined heraldry can perhaps be viewed as a token of Pugin's gratitude and goodwill towards his patron John Hardman junior. A comparable secular candelabrum in gilt brass and cut crystal glass designed by Pugin for the House of Lords circa 1850 also by John Hardman & Co Birmingham was subsequently exhibited at the 1851 Great Exhibition. However the 1849 Birmingham exhibition itself was a precursor of the 1851 Great Exhibition organised by Henry Cole and Prince Albert, both of whom had praised the work of Pugin and his manufacturers at the exhibition, causing Pugin to comment 'Our exposition at Birmingham was very creditable, has attracted a deal of attention, and done much good'. However the 1851 London Exhibition, known as the ''Great Exhibition of the Works of Industry of All Nations,'' held in Joseph Paxton's prefabricated 'Crystal Palace' was problematic for Pugin who was commissioned to design a Medieval Court due to his differences with the designer of such a modern glass and iron structure. Nevertheless, he worked har... This lot is subject to the following lot symbols: TPTP Lot 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
Collection of books on Japanese art and antiques to include Japanese Cloisonne by Gregory Irvine, Kogei - A view of a Century of modern Japanese crafts, Japonisme and the Rise of the Modern Art Movement: The Arts of the Meiji Period Gregory Irvine, Namikawa Yasuyuki and Japanese Cloisonne - the allure of Meiji Cloisonne and others (27)
Brown, George Mackay 5 autograph letters, 1 initialled postcard, 1 signed Christmas card & 1 signed 2 A.L.S. to Walter Keir, 18th Feb. 1962, discussing Crichton Smith's poem & Macdiarmid on Hume "Smith's poem is very impressive, in parts anyway" "The Macdiarmid thing on Hume was awful. Strange that such a great poet should manifest himself so boringly in prose! The thing sounded just like the lectures MacDiarmid gives, hellish!...", 2pp, 6 Well Park, Stromness; and 8th Jan. 1968 "the press cutting was uplifting to the soul, but alas, I have a worldly scale inside me that tells me soberly just why my limitations and abilities are. I can turn out a tale like any journeyman, and have the cunning to hide defects with flourishes... it has been a strange winter with me. My mother dies in November so I live here all alone... the Society of Authors offered me a travelling grant of £250 to travel abroad and meet foreign writers. I hope they consider Ireland "abroad" because they're the only authors I'd particularly care to meet. I don't particularly care for authors as a race - so many of them are vain, egotistical & boring (of course there are dear exceptions), 3 pages, 6 Well Park, Stromness; 3 autograph letters to Harry S.M. Taylor (Periodicals Dept. University Library, Edinburgh), 2 from Tor na Dee Sanatorium, Milltimber, Aberdeen, 1st Jan 1961 and 21st Feb. 1961, (1) "the date above should give you some insight into the plane of high seriousness on which my life is now conducted", saying "if I had the money I would organise a [ ] bus trip, with the following 20 persons invited (this trip would be on a Sabbath - there would be suitable refreshments, Milne's pies, six bottles of Glen Grant, 200 tins of export and 6 packets of Rowntree's Fruit Gums for HSMT - I reckon the entire trip would cost me £30... - J. Broom, P. Hughes, S.G. Smith, HSM Taylor, W. Maclean, D. Marcarthur, J. Durkin, R. Thomson [other names will be issued soon like Mr Kennedy forming his cabinet]. Tickets will be issued from this office in due course, as soon as the sonnets appear... Prayers at the beginning and end would be offered by Rev. John Broom, the Humanist Father... Now to be serious. Groping my way carefully through medieval history, I'm amazed at the highly organised rituals that pervaded every level of human activity... I know something about the Orkney midsummer fertility rites.. I have learned in a devious manner that you yourself are an initiate into some of the more modern mysteries. I will indicate to you how tremendously exciting are some of the things that go on under the banal surface of life, closer to the roots and sources of creation... There were also a rite of Poets of Architects, of Knights, Merchants etc... probably the rite took place in darkened room with appropriate symbolism on the walls, and the questions coming out of need darkness..." this is followed by a long passage with the imagined Interrogation of the new king. "the rite of Poets is even more fascinating. I am not at liberty of course to discuss the least word or action of it, except to say that if definitely exists and is celebrated today. In Scotland, at the moment, there are four initiates. Useless to challenge them - they wouldn't betray themselves by the least flicker of an eyelid. I only tell you these things because I know you will respect the mystery..." 9 pages; (2) to Harry, "I had hoped that my secret work here would be finished in time for my return to HQ in Edinburgh next Monday, along with that hidden Jesuit, Fr. John Broom", saying that "my superiors Mgr Boyle and Canon Redeye wish me to stay for a further week, in order to complete my report. The report, I think, when it is read at the secret conclave, will be a rather staggering one. It suggests for example that the arts are no longer necessary in our society - the poet is going the way of the witch and the miracle-working saint. No longer neccessary but that is not to say that they will no longer exist in the mechanistic society of the future in other explosive forms. It suggests too that the artist have betrayed their calling - they have been seduced by the bitch-goddesses "Beauty" and "Culture" - but the true function of poetry and art has always been necromancy, to effect desired changes by a unique and mysterious manipulation of symbols", 2 pp. Tor na Dee Hospital, 21 Feb. 1961; (3) to Harry [Taylor] "I can just picture the scene at Milne's with Miss Cartrwright, Mr McLean, Mr Callum Campbell, &c.... Here on my Sabine farm I live in great quietness", referring to Taylor's offer to help him obtain a post of some kind in the book line. "Here there is no suitable work. One comes to hate the continual harassment by National Insurance and Ministry of Labour. I might fit in for a time in some bookshop or library", referring to Arthur Swanson, John Broom, referring to Hogmanay activities on Orkney, and quoting Wallace Stevens poetry, 4pp, 6 Well Park, Stromness, 2 Dec. 1961; (4) Initialled postcard to Harry Taylor, (5) Christmas card, signed by G.M.B. with short autograph poem lampooning the card "Saints crowned with flying saucers", 4 lines, with beneath it "A fragment of original Mackay Brown, quite priceless, holograph"; (6), Printed proem "Maes Howe Winter", with printed illustration by Simon Fraser, inscribed "from George"Footnote: Note: A particularly good collection of autograph letters.
Agriculture in England 8 volumes, comprising Mortimer, John. The Whole Art of Husbandry. London: R. Robinson, 1716. Fourth edition, 2 volumes, 8vo, titles printed in red and black, engraved frontispiece in volume 1, illustrations, contemporary panelled calf; Quayle, Basil. General View of the Agriculture of the Isle of Man. London, 1794. First edition, 4to, modern period style quarter calf, with contemporary marginal annotations; Dickson, Adam. A Treatise of Agriculture. Edinburgh, 1770, 2 volumes, 8vo, contemporary calf gilt; Anderson, James. A Practical Treatise on Draining Bogs and Sampy Gounds. London, 1797, 8vo, illustrations, contemporary calf, rubbed; Turner, Nicholas. An Essay on Draining and Improving Peat Bogs. London, 1784. First edition, 8vo, modern quarter calf; [Young, Arthur] Rural Oeconomy, or Essays on the Practical Parts of Husbandry. London, 1772, Second edition, 8vo, contemporary calf, spine gilt (lettered on spine vol. *, but complete in itself) (8)
LOU, LIZA1969 New YorkTitel: Self Portrait, No. 2 (The Heretic). Datierung: 2004. Technik: Mixed Media (Kunstharz, Stahl, Glasperlen). Maße: 76 x 55 x 45cm.Bezeichnung: Signiert und datiert. Rahmen/Sockel: Holzsockel (130 x 60 x 60cm). Literatur:- Heil, Axel/Schoppmann, Wolfgang (Hrsg.): Most Wanted - The Olbricht Collection - Some Recent Acquisitions, Köln 2005, Abb. S. 17Liza Lou ist eine amerikanische Bildhauerin, die durch ihre häufig großformatigen mit abertausenden von Glasperlen besetzten Skulpturen bis an die Spitze der internationalen Kunstszene aufgestiegen ist. Lou studierte zunächst am San Francisco Art Institute, verließ dieses jedoch vorzeitig, da ihre Professoren und Professorinnen ihre Arbeit mit Glasperlen nicht die genügend anerkannten. Für Liza Lou stehen die Glasperlen als Symbol für die von Frauen ausgeführte Arbeit und die andauernden Anstrengungen im Alltag einer Frau. In der Arbeit mit Perlen sieht die Künstlerin eine internationale und interkulturelle Verbindung zwischen Frauen rund um den Erdball. Ihren ersten internationalen Durchbruch feierte sie 1996 mit der Arbeit "Kitchen", einer knapp 16 Quadratmeter großen, voll ausgestatteten und gänzlich mit Perlen überzogenen Rekonstruktion einer Küche. Die Arbeit an dem Werk nahm fünf Jahre in Anspruch. Im Jahr 2005 zog Lou nach Durban, Südafrika, wo sie in ihrem Studio mit der Hilfe von rund 50 südafrikanischen Perlenarbeiterinnen eine Vielzahl von Skulpturen schuf. In den darauffolgenden Jahren realisierte Lou weitere Projekte in Südafrika. Mithilfe einer Gruppe von Zulu-Frauen aus den Townships der Stadt KwaZulu Natal in Südafrika schuf sie so ein über eine Meile langes Seil, welches komplett aus Perlen gewebt wurde. Dabei wählte sie bewusst eine langsame Methode, die eine möglichst große Zahl an Helferinnen benötigte. So konnte vielen Familien ein stabiles Einkommen sowie Gesundheitsversorgung und Schulbildung verschafft werden. Insgesamt besteht das Werk aus rund 4,5 Millionen Perlen. Das uns vorliegende Werk "Self Portrait, No. 2 The Heretic" zählt ebenfalls zum Hauptwerk der Künstlerin. Die in perfektionistischer Manier kreisförmig angeordneten Perlen erzeugen illusorische Effekte, welche eine nahezu hypnotisierende Wirkung auf den Betrachter haben. Lou zeigt sich in diesem Selbstportrait gänzlich nackt in einer Yoga-Pose. Die Füße sind hinter dem Kopf verschränkt. Die Hände hat sie, wie im Gebet, vor der Brust gefaltet. Die Zunge der Künstlerin ist weit herausgestreckt und weckt unweigerlich Assoziationen zur indischen Todesgöttin Kali. Dies kann zum einen als ein interkulturelles Verbindungselement, wie häufiger bei Lous Werken zu finden, gedeutet werden, zum anderen ist es ein eindeutiger Verweis auf Lous Bezug zu Religion. Lou, die selbst in einer christlich-evangelikalen Sekte aufwuchs, möchte so die Erfahrung abbilden außerhalb der göttlichen Gunst zu stehen. Die verschlungene Haltung der Künstlerin in ihrer lebensgroßen Selbstdarstellung zeigt, dass das Tor zur spirituellen Transformation in jedem selbst begründet liegt und somit frei von institutionellem Zwang ist. Das ungewöhnliche Selbstportrait der Künstlerin stellt also nicht nur durch den perfektionistisch-handwerklichen Ansatz eine herausragende Arbeit dar, sondern bietet dem Betrachter auch die seltene Gelegenheit neben der Gedankenwelt Lous auch den Umgang mit ihrer eigenen Biografie zu erforschen. Erläuterungen zum KatalogLiza Lou USA Zeitgenössische Kunst Objekte 2000er Porträt Skulptur Mischtechnik Künstler LOU, LIZA1969 New YorkTitle: Self Portrait, No. 2 (The Heretic). Date: 2004. Technique: Mixed media (resin, steel, glass beads). Measurement: 76 x 55 x 45cm.Notation: Signed and dated. Frame: Wooden base (130 x 60 x 60cm). Literature:- Heil, Axel/Schoppmann, Wolfgang (eds.): Most Wanted - The Olbricht Collection - Some Recent Acquisitions, Cologne 2005, ill. p. 17. Explanations to the Catalogue
SHERMAN, CINDY1954 Glen Ridge/NJ, USATitel: Untitled #166. Datierung: 1987. Technik: C-Print. Darstellungsmaß: 152,5 x 92cm. Exemplar: 3/6. Rahmen: Rahmen (155,5 x 105 x 6cm). Im Rahmen beschrieben. Provenienz: - Metro Pictures, New York (Aufkleber)- Galerie Art & Public (Pierre Huber), Genf (Aufkleber)- Lambert Art Collection, Avignon (Aufkleber)- Phillips de Pury & Company New York, Auktion Contemporary Photographs from the Lambert Art Collection - 9. November 2004, Los 83Ausstellungen: - Museum Jorn, Silkeborg 2017- me Collectors Room Berlin, 2015/16- Weserburg - Museum für moderne Kunst, 2018/19. Erläuterungen zum KatalogCindy Sherman USA Zeitgenössische Konzeptkunst Fotografie Aktionskunst Zeitgenössische Kunst 1980er Porträt Fotografie C-Print Künstler SHERMAN, CINDY1954 Glen Ridge/New JerseyTitle: Untitled #166. Date: 1987. Technique: C-print. Depiction Size: 152,5 x 92cm. Number: 3/6. Frame: Framed (155,5 x 105 x 6cm). Not examined out of the frame.Provenance: - Metro Pictures, New York (adhesive label)- Galerie Art & Public (Pierre Huber), Geneva (adhesive label)- Lambert Art Collection, Avignon (adhesive label)- Phillips de Pury & Company New York, Auction Contemporary Photographs from the Lambert Art Collection - 9 November 2004, lot 83Exhibitions: - Museum Jorn, Silkeborg 2017- me Collectors Room Berlin, 2015/16- Weserburg - Museum für moderne Kunst, 2018/19. Explanations to the Catalogue
QUINN, MARC1964 LondonTitel: Mirage. Datierung: 2009. Technik: Bronze, grün-schwarz patiniert. Maße: 233 x 147 x 50cm. Provenienz: - Galerie Thaddeus Ropac, SalzburgAusstellungen: - Kunsthalle Krems, 2010- Deichtorhallen Hamburg, 2011- La Maison Rouge, Paris 2011/12Literatur:- Luckow, Dirk (Hrsg.): Zwei Sammler - Thomas Olbricht und Harald Falckenberg, Köln 2011, S. 52, Abb. S. 20- Schoppmann, Wolfgang (Hrsg.): Mémoires de Future - La Collection Olbricht, Lyon 2011, Abb. S. 2, 131- Schoppmann, Wolfgang/Wipplinger, Hans-Peter (Hrsg.): Lebenslust & Totentanz - Olbricht Collection, Köln/Krems 2010, Abb. S. 101Es gibt kaum einen zeitgenössischen Künstler, der so experimentell bei der Materialwahl für seine Werke vorgeht, wie Marc Quinn. Neben Skulpturen aus seinem eigenen Blut oder der DNA eines Nobelpreisträgers fällt die Bronze "Mirage" zwar nicht durch eine außergewöhnlich exzentrische Materialwahl auf, sondern durch die ungemeine inhaltliche Tiefe. Als Vorlage für "Mirage" dient das Foto eines Gefangenen des Abu Ghraib-Gefängnisses in Bagdad, welches 2004 die Weltöffentlichkeit erschütterte. Auf einer Kiste stehend, wird der Häftling von seinen amerikanischen Wärtern gezwungen seine mit Stromkabeln versehenen Arme auszustrecken. Ließe er die Arme sinken, so würde er damit eine Bombe zünden, die zu seinem sicheren Tod führe, drohten im die Wärter. Durch die Kapuze seines Sehsinns beraubt, ist dem Gefangenen nicht bewusst, dass die Kabel im Nichts verlaufen. Die Pose des Häftlings erinnert unweigerlich an eine verhüllte Kreuzigung. Die Kreuzigungsdarstellung steht in der christlichen Bildtradition sinnbildlich als Ausdruck von Ungerechtigkeit und Leid. So wurde das Foto des Gefangenen aus Abu Ghraib zum Symbol für die unmenschliche Art und Weise, auf die der amerikanische Krieg gegen den Terror geführt wird.Es ist besonders das Eigenleben von Bildern aus den Massenmedien, welches Quinn fasziniert. Welche Bilder werden gezeigt und inwiefern bestimmen sie den Diskurs? Welchen Einfluss haben diese Bilder auf unsere eigene Denkweise? Quinn thematisiert nicht nur die menschliche Grausamkeit, sondern auch die digitale und globale Verbreitung von Informationen. In der globalen Verbreitung von Bildern durch die Massenmedien sieht Quinn ein Werkzeug zur demokratischen Verteilung von Informationen. Dem Künstler gelingt es so selbst in der Darstellung der dunkelsten menschlichen Abgründe noch eine positive Komponente einzuflechten. Erläuterungen zum KatalogMarc Quinn Objekte 2000er Mann Skulptur Bronze USA QUINN, MARC1964 LondonTitle: Mirage. Date: 2009. Technique: Bronze, green-black patinated. Measurement: 233 x 147 x 50cm.Provenance: - Galerie Thaddeus Ropac, SalzburgExhibitions: - Kunsthalle Krems, 2010- Deichtorhallen Hamburg, 2011- La Maison Rouge, Paris 2011/12Literature:- Luckow, Dirk (ed.): Zwei Sammler - Thomas Olbricht und Harald Falckenberg, Cologne 2011, p. 52, ill. p. 20- Schoppmann, Wolfgang (ed.): Mémoires de Future - La Collection Olbricht, Lyon 2011, ill. p. 2, 131- Schoppmann, Wolfgang/Wipplinger, Hans-Peter (eds.): Lebenslust & Totentanz - Olbricht Collection, Cologne/Krems 2010, ill. p. 101. Explanations to the Catalogue
STOLTMANN, KIRSTEN1968 Milwaukee, WI/USATitel: Ohne Titel (Art Forum Ad). Datierung: 2000. Technik: C-Print. Darstellungsmaß: 100,5 x 75cm. Exemplar: 1/8. Rahmen: Rahmen (102,5 x 77cm). Im Rahmen beschrieben. Provenienz:- Donald Young Gallery, ChicagoAusstellungen:- Neues Museum Weserburg, Bremen 2001- me Collectors Room Berlin, 2015Literatur:- Stiftung Olbricht (Hrsg.): Moving Energies - 10 Years ME Collectors Room, Berlin 2020, Abb. S. 157- Stiftung Olbricht (Hrsg.): Queensize - Female Artists from the Olbricht Collection, Berlin 2015, Abb. S. 59. Erläuterungen zum KatalogKirsten Stoltmann USA Fotografie Zeitgenössische Kunst 2000er Frau Fotografie C-Print Akt STOLTMANN, KIRSTEN1968 Milwaukee/USATitle: Untitled (Art Forum Ad). Date: 2000. Technique: C-Print. Depiction Size: 100,5 x 75cm. Number: 1/8.Frame: Framed (102,5 x 77cm). Not examined out of the frame. Provenance:- Donald Young Gallery, ChicagoExhibitions:- Neues Museum Weserburg, Bremen 2001- me Collectors Room Berlin, 2015Literature:- Stiftung Olbricht (ed.): Moving Energies - 10 Years ME Collectors Room, Berlin 2020, ill. p. 157- Stiftung Olbricht (ed.): Queensize - Female Artists from the Olbricht Collection, Berlin 2015, ill. p. 59. Explanations to the Catalogue
TRESCOTT, SHONAH UND OSVALDO BUDET1982 Maitland/Australien | 1979 San Juan/Puerto RicoTitel: "Rain, Steam and Speed II". Datierung: 2014. Technik: Handgeschnitztes bemaltes Kiefernholz, und Geldmünzen. Maße: 16 x 43 x 11cm.Bezeichnung: Signiert, betitelt, nummeriert und datiert. Exemplar: 1/1. Provenienz: - Galerie Eigen + Art, Berlin. Erläuterungen zum KatalogShonah und Osvaldo Budet Trescott Australien Zeitgenössische Kunst Objekte 2010er Maschine Skulptur Holz TRESCOTT, SHONAH AND OSVALDO BUDET1982 Maitland/Australia | 1979 San Juan/Puerto RicoTitle: "Rain, Steam and Speed II". Date: 2014. Technique: Hand-carved painted cedarwood, and gold coins. Measurement: 16 x 43 x 11cm.Notation: Signed, titled, numbered and dated. Number: 1/1. Provenance: - Galerie Eigen + Art, Berlin. Explanations to the Catalogue
WEISCHER, MATTHIAS1973 Elte/WestfalenTitel: Ohne Titel. Untertitel: Serie von 12 Papierarbeiten. Datierung: 2005. Technik: Jeweils: Pastell, Ölkreide und Grafit auf leichtem Karton. Maße: 21 x 29,5cm.Rahmen/Sockel: Rahmen. Im Rahmen beschrieben. Die Arbeiten sind auf der Rahmenrückwand mit der jeweiligen Werknummer versehen.Provenienz: - Galerie EIGEN + ART, Berlin (Aufkleber)Ausstellungen: - Neues Museum Weserburg, Bremen 2005/06- Kunstverein Ulm, 2006- Kunstverein Konstanz, 2006Literatur:- Heil, Axel/Schoppmann, Wolfgang (Hrsg.): Most Wanted - The Olbricht Collection - Some Recent Acquisitions, Köln 2005, Abb. S. 138fMatthias Weischer ist ein bedeutender Vertreter der Neuen Leipziger Schule. In seinen Werken arrangiert er in hermetisch abgeriegelten Farbräumen skurrile Objekte und schafft so Arbeiten, die mit ihrem collagenartigen Charakter die Atmosphäre der von Weischer meisterlich konstruierten Innenräume aufladen. Weischer untersucht den Raum und seine werkinhärenten Beziehungen und bildet so einen Ausgangspunkt zum Diskurs über die Malerei. Erläuterungen zum KatalogMatthias Weischer Deutschland Neue Leipziger Schule Zeitgenössische Kunst Unikate 2000er Stillleben Papierarbeit Ölkreide Raum WEISCHER, MATTHIAS1973 Elte/WestphaliaTitle: Untitled. Subtitle: Series of 12 Paper Works. Date: 2005. Technique: Each: pastel, oil crayon and graphite on thin card. Measurement: 21 x 29,5cm. Frame/Pedestal: Framed. Not examined out of the frame. The works are equipped with their respective work numbers on the frame rear panel.Provenance: - Galerie EIGEN + ART, Berlin (adhesive label)Exhibitions: - Neues Museum Weserburg, Bremen 2005/06- Kunstverein Ulm, 2006- Kunstverein Konstanz, 2006Literature:- Heil, Axel/Schoppmann, Wolfgang (eds.): Most Wanted - The Olbricht Collection - Some Recent Acquisitions, Cologne 2005, ill. p. 138f. Explanations to the Catalogue
ROGGAN, RICARDA1972 DresdenTitel: Drei Tische mit braunen Beinen III. Datierung: 2003. Technik: C-Print. Darstellungsmaß: 100 x 130cm. Bezeichnung: Verso signiert, datiert, nummeriert und betitelt. Exemplar: 5/5.Rahmen: Rahmen (105 x 134,5cm). Die Fotografie ist auf der offiziellen Internetseite der Künstlerin aufgeführt.(www.ricardaroggan.de) Provenienz: - Galerie EIGEN + ART, Leipzig/Berlin Ausstellungen:- Weserburg - Museum für moderne Kunst, Bremen 2005Literatur:- Heil, Axel/Schoppmann, Wolfgang (Hrsg.): Most Wanted - The Olbricht Collection - Some Recent Acquisitions, Köln 2005, Abb. S. 207. Erläuterungen zum KatalogRicarda Roggan Fotografie 2000er Interieur Fotografie C-Print Tisch ROGGAN, RICARDA1972 DresdenTitle: Drei Tische mit braunen Beinen III. Date: 2003. Technique: C-print. Depiction Size: 100 x 130cm. Notation: . Verso signed, dated, numbered and titled. Number: 5/5. Frame: Framed (105 x 134,5cm). The photograph is listed on the artist's official website. (www.ricardaroggan.de) Provenance: - Galerie EIGEN + ART, Leipzig/Berlin Exhibitions:- Weserburg - Museum für moderne Kunst, Bremen 2005Literature:- Heil, Axel/Schoppmann, Wolfgang (eds.): Most Wanted - The Olbricht Collection - Some Recent Acquisitions, Cologne 2005, ill. p. 207. Explanations to the Catalogue
SUGITO, HIROSHI1970 Nagoya/JapanTitel: "The Trees". Datierung: 2003. Technik: Acryl und Pigment auf Leinwand.Maße: 190 x 350cm. Bezeichnung: Signiert, datiert und betitelt verso: Hiroshi Sugito 2003 "the trees". Provenienz: - Galerie Zink & Gegner, MünchenAusstellungen: - Helsinki City Art Museum, 2005- Berenberg Bank, Düsseldorf 2008. Erläuterungen zum KatalogHiroshi Sugito Japan Zeitgenössische Kunst Unikate 2000er Bäume Gemälde Acryl SUGITO, HIROSHI1970 Nagoya/JapanTitle: "The Trees". Date: 2003. Technique: Acrylic and pigment on canvas. Measurement: 190 x 350cm. Notation: Signed, dated and titled verso: Hiroshi Sugito 2003 "the trees". Provenance: - Galerie Zink & Gegner, MunichExhibitions: - Helsinki City Art Museum, 2005- Berenberg Bank, Düsseldorf 2008. Explanations to the Catalogue
SUGITO, HIROSHI1970 Nagoya/JapanTitel: Changing Rooms. Datierung: 2000. Technik: Acryl und Pigment auf Leinwand. Maße: 188 x 244cm.Provenienz: - Tomio Koyama Gallery, Tokio- Marc Foxx Gallery, Los Angeles- Christie's New York, Auktion Post War and Contemporary Art, 9. November 2005, Los 428. Erläuterungen zum KatalogHiroshi Sugito Japan Zeitgenössische Kunst Unikate 2000er Raum Gemälde Mischtechnik Kleidung SUGITO, HIROSHI1970 Nagoya/JapanTitle: Changing Rooms. Date: 2000. Technique: Acrylic and pigment on canvas. Measurement: 188 x 244cm. Provenance: - Tomio Koyama Gallery, Tokyo- Marc Foxx Gallery, Los Angeles- Christie's New York, Auction Post War and Contemporary Art, 9 November 2005, Lot 428. Explanations to the Catalogue
SUGITO, HIROSHI1970 Nagoya/JapanTitel: "Rainbow Mountain". Datierung: 2003. Technik: Acryl und Pigment auf Leinwand. Maße: 216 x 350cm.Bezeichnung: Signiert, datiert und betitelt verso: Hiroshi Sugito 2003 "rainbow mountain". Provenienz: - Nicole Klagsburn, New York (Aufkleber)Ausstellungen: - Helsinki City Art Museum, 2005Literatur:- Heil, Axel/Schoppmann, Wolfgang (Hrsg.): Most Wanted - The Olbricht Collection - Some Recent Acquisitions, Köln 2005, Abb. S. 147f. Erläuterungen zum KatalogHiroshi Sugito Japan Zeitgenössische Kunst Unikate 2000er Gebirge Gemälde Acryl Regen SUGITO, HIROSHI1970 Nagoya/JapanTitle: "Rainbow Mountain". Date: 2003. Technique: Acrylic and pigment on canvas. Measurement: 216 x 350cm. Notation: Signed, dated and titled verso: Hiroshi Sugito 2003 "rainbow mountain". Provenance: - Nicole Klagsburn, New York (adhesive label)Exhibitions: - Helsinki City Art Museum, 2005Literature:- Heil, Axel/Schoppmann, Wolfgang (eds.): Most Wanted - The Olbricht Collection - Some Recent Acquisitions, Cologne 2005, ill. p. 147f. Explanations to the Catalogue
KUWAHARA, MASAHIKO1959 TokioTitel: Price. Datierung: 2001. Technik: Öl auf Leinwand. Maße: 91 x 61cm.Bezeichnung: Signiert und datiert verso auf umgeschlagener Leinwand: KUWAHARA Masahiko 2001. Daneben bezeichnet. Provenienz: - Galerie 20.21, EssenAusstellungen: - Helsinki City Art Museum, 2005. Erläuterungen zum KatalogMasahiko Kuwahara Japan Figurative Kunst Zeitgenössische Kunst Unikate 2000er Frau Gemälde Öl Akt KUWAHARA, MASAHIKO1959 TokyoTitle: Price. Date: 2001. Technique: Oil on canvas. Measurement: 91 x 61cm. Notation: Signed and dated verso on the canvas overlap: KUWAHARA Masahiko 2001. Beside it inscribed. Provenance: - Galerie 20.21, EssenExhibitions: - Helsinki City Art Museum, 2005. Explanations to the Catalogue
MIYAKE, SHINTARO1970 TokioTitel: "Tatado". Datierung: 2003.Technik: Bunt- und Bleistift auf leichtem Karton. Maße: 113,5 x 440cm.Bezeichnung: Datiert, signiert und betitelt verso unten rechts: 2003 Shintaro Miyake TATADO. Das Werk wird umlaufend mit Reißzwecken direkt auf der Wand installiert.Provenienz: - Tomio Koyama Gallery, TokyoAusstellungen:- Helsinki City Art Museum, 2005. Erläuterungen zum KatalogShintaro Miyake Japan Zeitgenössische Kunst Unikate 2000er Figurengruppe Papierarbeit Buntstift Fische MIYAKE, SHINTARO1970 TokioTitle: "Tatado". Date: 2003. Technique: Coloured pencil and pencil on thin card. Measurement: 113,5 x 440cm. Notation: Dated, signed and titled verso lower right: 2003 Shintaro Miyake TATADO. The work is circumferentially directly installed on the wall with thumbtacks.Provenance: - Tomio Koyama Gallery, TokyoExhibitions:- Helsinki City Art Museum, 2005. Explanations to the Catalogue
QI, ZHILONG1962 Hohhot/MongoleiTitel: Chinese Girl Nr. 7. Datierung: 2005. Technik: Öl auf Leinwand. Maße: 150 x 180cm.Bezeichnung: Signiert und datiert unten links: 2005. Zudem verso signiert zweifach, datiert und nummeriert: Qi Zhilong 2005. No. 7. Provenienz: - Galerie Frank Schlag, EssenAusstellungen: - Xin Dong Cheng Space for Contemporary Art, Peking 2007- Kunst im Tunnel Düsseldorf, 2010Literatur:- Eskildsen, Ute/Olbricht, Thomas: Rockers Island - Olbricht Collection, Göttingen 2007, S. 268, Abb. S. 218. Erläuterungen zum KatalogZhilong Qi China Zeitgenössische Kunst Unikate 2000er Porträt Gemälde Öl Mädchen QI, ZHILONG1962 MongoliaTitle: Chinese Girl Nr. 7. Date: 2005. Technique: Oil on canvas. Measurement: 150 x 180cm. Notation: Signed and dated lower left: 2005. Additionally verso signed twice, dated and numbered: Qi Zhilong 2005. No. 7. Provenance: - Galerie Frank Schlag, EssenExhibitions: - Xin Dong Cheng Space for Contemporary Art, Beijing 2007- Kunst im Tunnel Düsseldorf, 2010Literature:- Eskildsen, Ute/Olbricht, Thomas: Rockers Island - Olbricht Collection, Göttingen 2007, p. 268, ill. p. 218. Explanations to the Catalogue
SCHÜTTE, THOMAS1954 OldenburgTitel: Frau VI. Datierung: 2016. Technik: Bronze, werkimmanente Korrosion. Maße: 10 x 34 x 20,5cm.Bezeichnung: Monogrammiert und nummeriert (eingeschlagen) auf einer der Plinthenseiten: T.S. 2/20. Darüber die Nummer: 211298. Exemplar: 2/20. Sockel/Rahmen: Stahlsockel (120,5 x 43 x 20cm). Provenienz: - Konrad Fischer Galerie, Düsseldorf Seit Anfang der 1990er Jahren beschäftigt sich Thomas Schütte mit der weiblichen Figur. Dabei gilt sein Interesse dem kunsthistorisch bekannten Motiv des ruhenden Frauenaktes, das als allgemeingültiges Gleichnis für Lebensschönheit und Daseinsfülle steht. Stets unterwirft Schütte seine Liegenden, Hockenden und sich Erhebenden souverän jegliche Art von Deformation und Verwandlung und nutzt hierfür gekonnt Materialien von Aluminium bis Bronze. Auf diese Weise lotet er die verschiedenen, scheinbar unvereinbaren Möglichkeiten der plastischen Gestaltung einer menschlichen Figur aus. Dies tut er stets in der Auseinandersetzung mit den unterschiedlichen Ausdrucksformen der modernen Skulptur von Rodin über Maillol, Matisse bis Picasso und Moore, von Kolbe bis Marcks. Schütte variiert aber nicht das traditionelle Motiv. Vielmehr verzerrt, zerlegt und verändert er dieses und bringt es damit mit Nachdruck in die Gegenwart: Durch die erstaunliche Vielfalt seines Formenspektrums zwischen organisch-körperlich und intuitiv-abstrakt schafft er nicht nur anatomisch deformierte Frauenleiber, sondern darüber hinaus auch vom Körper losgelöste gegenstandlose Gebilde, Bewegungsgesten und emotionale Gebärden. Denn Schütte begreift den Körper als eine beinahe formlose Biomasse. So sind seine Figuren seltsame natürliche wie auch künstliche Mischwesen, deren Konturen nicht mehr klar zu erkennen sind und die keine Identität versprechen. Ob monumental, lebensgroß oder miniaturhaft, seine befremdlichen Frauenskulpturen ziehen uns immer wieder in ihren Bann und verstören uns zugleich von Neuem mit ihrer Mischung aus Aversion und einer Schönheit, die nicht dem herkömmlichen ICOLl entspricht. Erläuterungen zum KatalogThomas Schütte Deutschland Figurative Kunst Nachkriegskunst Objekte 2010er Frau Bronze Bronze Akt SCHÜTTE, THOMAS1954 OldenburgTitle: Frau VI. Date: 2016. Technique: Bronze, corrosion inherent to the work. Measurement: 10 x 34 x 20,5cm. Notation: Monogrammed and numbered (embossed) on one of the plinth sides: T.S. 2/20. Above it the number: 211298. Number: 2/20. Frame/Pedestal: Steel base (120,5 x 43 x 20cm). Provenance: - Konrad Fischer Galerie, Düsseldorf. Explanations to the Catalogue
ZITTEL, ANDREA1965 Escondido, CA/USATitel: Free Running Rhythms and Patterns Version II. Untertitel: Installation von 28 Holzpaneelen. Datierung: 2000. Technik: Mixed Media (Walnusspaneele, Latex- und Ölfarbe, Vinylfolie, C-Prints, Holzrahmen und Plexiglas). Maße: Jeweils: 201 x 80 x 5cm; Installationsmaß: ca. 2800 x 80 x 5cm. Bezeichnung: Durchnummeriert jeweils verso auf Etikett: 1-27. Die eigentliche Installation besteht aus 27 Paneelen. Das 28. begleitende Paneel, wird unabhänging von den anderen im Raum platziert.Provenienz: - Andrea Rosen Gallery, New York (Aufkleber)Austellungen: - Neues Museum Weserburg, Bremen 2001- Contemporary Arts Museum Houston, 2005 - New Museum of Contemporary Art, New York 2007- SCHAULAGER/Laurenz-Stiftung, Basel 2008- Institute of Contemporary Art Miami, 2017/18Die in Kalifornien geborene Bildhauerin und Installationskünstlerin Andrea Zittel erlangte ihren Master of Fine Arts 1990 an der Rhode Island School of Design. Die Künstlerin erforscht mit ihren außergewöhnlichen Werken die Menschen, ihre Gewohnheiten sowie das Leben selbst. Forschen ist in diesem Kontext übrigens wortwörtlich zu nehmen, denn das Fundament ihrer Kunstwerke bilden häufig von Zittel durchgeführte Experimente. 1994 fanden diese Experimente zunächst in einem dreistöckigen Gebäude in Brooklyn statt. Zur Jahrtausendwende zog sie mit diesem Projekt auf ein großes Grundstück in der kalifornischen Mojave-Wüste um. In ihren "Experiments of Living" untersucht Zittel die Ess-, Wohn-, Bekleidungs- sowie Schlafgewohnheiten der zeitweiligen Bewohner ihres Labors. Die Werke der Künstlerin stellen dabei häufig die Dokumentation ihrer Erkenntnisse dar. Die uns vorliegende Arbeit "Free Running Rhythms and Patterns Version II" bildet die Auseinandersetzung mit einer Reihe von Experimenten ab, die unter dem Namen "A-Z Time Trials" firmieren. Die Künstlerin versuchte zwischen dem 31. Oktober 1999 und dem 6. November 1999 jede externe Quelle mit Zeitbezug zu eliminieren und für eine Woche nur nach dem körpereigenen Rhythmus zu leben. Hierfür eliminiert sie alle natürlichen Licht- und Schallquellen, Uhren und andere Zeitreferenzen aus ihrem Alltag. Zusätzlich dokumentierte sie die Woche mit einer Zeitrafferaufnahme, um eventuell vorhandene neue Verhaltensmuster sichtbar zu machen. Der Einfluss von Architektur, Inneneinrichtung und Stadtgestaltung auf unser Denken und Handeln scheint unumstritten. Kontinuierlich werden diese strukturgebenden Elemente verändert, verbessert und umgedacht, doch Zeit als eines der elementarsten dieser Elemente scheint ein Großteil der Menschen zu vernachlässigen. Die zeitliche Strukturierung hat maßgeblichen Einfluss auf unser Handeln, dennoch traut sich kaum jemand diese unveränderbar wirkende Form zu untersuchen oder gar zu optimieren. Die Zeit in dieser Endgültigkeit anzugreifen, zu öffnen, experimentell zu erkunden und auf die Suche nach alternativen Systemen zu gehen ist das erklärte Ziel der Künstlerin. Auf insgesamt 28 Paneelen aus Wallnussholz stellt sie schematisch ihren Tagesablauf dar. Eines dieser Paneele fungiert hierbei als eine Art Ausstellungstafel, auf welcher Hintergrundinformationen zum Experiment bereitgestellt werden. Durch das Kombinieren von Farbnuancen und das Hinzufügen diverser Bildelemente, wie zum Beispiel Filmstills aus der Zeitrafferaufnahme, entsteht nicht nur eine einfache Dokumentation ihres Experiments, sondern auch ein formal-ästhetisch überaus ansprechendes Werk in musealer Qualität. Erläuterungen zum KatalogAndrea Zittel USA Zeitgenössische Kunst Objekte 2000er Zeit Installation Mischtechnik Künstler ZITTEL, ANDREA1965 Escondido, CA/USATitle: Free Running Rhythms and Patterns Version II. Subtitle: Installation of 28 Wooden Panels.Date: 2000. Technique: Mixed media (walnut panels, latex and oil paint, vinyl foil, C-prints, wooden frame and Plexiglass). Measurement: Each: 201 x 80 x 5cm; Installation measurements: ca. 2800 x 80 x 5cm. Notation: Numbered consecutively each verso on label: 1-27. The actual installation consists of 27 panels. The 28th accompanying panel is placed independently of the others in the room.Provenance: - Andrea Rosen Gallery, New York (adhesive label)Exhibitions: - Neues Museum Weserburg, Bremen 2001- Contemporary Arts Museum Houston, 2005 - New Museum of Contemporary Art, New York 2007- SCHAULAGER/Laurenz-Stiftung, Basel 2008- Institute of Contemporary Art Miami, 2017/18. Explanations to the Catalogue
Bertin (Capt J), THE NOBLE GAME OF CHESS. CONTAINING RULES AND INSTRUCTIONS, FOR THE USE OF THOSE WHO HAVE ALREADY A LITTLE KNOWLEDGE OF THIS GAME, first edition, full leather, embossed decoration to cover, laid paper, printed by H. Woodfall, London 1735, with THE ART OF BOXING, full leather, gilt decoration to spine and covers, Kenyon bookplate, engraved frontispiece and title page, bound with THE MODERN FLASH DICTIONARY, THE ART OF ANGLING, and THE ART OF SWIMMING, sold by G.Smeeton (2) Provenance: The Estate of Lord Kenyon, Gredington. CONDITION REPORT:Both texts appear to be complete.The Noble Game of Chess: all front corners bumped. Shelf wear to bottom edges of boards. Shelf wear to covers. Spine fully attached but has 2.5cm splits at top at front and back covers. Staining to the top half of the pages, most noticeable at the beginning and end of the book, less obvious in the middle section. Title page, blank page (un-numbered), Preface pp iii-iv, Rules pp v-viii, text first page un-numbered, text pp2-78 The Art Of Boxing: minor wear to top of spine. Minor shelf wear. Frontispiece, title page, preface i-iv, Introduction pp v-vii, text pp8-63, contents p64 un-numbered, p65 blank un-numbered. The Modern Flash Dictionary: Frontispiece, title page, advertisement, motto page, text first page all un-numbered, text pp4-61, 'Flash Songs' p62 un-numbered, p63 blank un-numbered. The Art Of angling: Frontispiece, title page, blank page, 'The Angler's Song', text first page all un-numbered, text pp 4-79, contents p80, p81 blank un-numbered. The Art Of Swimming: Frontispiece, title page, blank page all un-numbered, preface pp i-vi, text first page un-numbered, text pp8-63, contents pp63-64.
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