Alexej von JawlenskyVariation: Purpurgold (Herbst) Öl auf leinenstrukturiertem Papier auf Karton 36,3 x 25,5 cm (50,8 x 37,5 cm) Gerahmt. Unten links grau monogrammiert 'A. J.'. - Reißnagellöcher zu den Rändern. Der unterliegende Karton mit Bereibungsspuren.Maria Jawlensky/Lucia Pieroni-Jawlensky/Angelica Jawlensky II 1044ProvenienzAtelier des Künstlers; Galka Scheyer, Hollywood, CA; Galerie Aenne Abels, Köln (1969); Christie's London, Impressionist & Modern Paintings & Sculpture, 25. März 1980, Lot 45 ("Herbst-Variation"), Galerie Wolfgang Ketterer München, 71. Auktion 20. Jahrhundert, 30. Mai 1983, Lot 518; Orangerie, Köln; Privatsammlung, RheinlandAusstellungenHamburg/München/Hannover/Wiesbaden/Barmen/Düsseldorf/Mannheim 1920/1921 (Galerie Commeter/Galerie Hans Goltz/Kestner-Gesellschaft/Neues Museum/Ruhmeshalle/o. Ort/Kunsthalle), Reiseausstellung, Kat. Nr. 77 (hier datiert 1919); Berlin 1923 (Galerie Twardy); Hollywood, CA 1930 (Braxton Gallery), Kat. Nr. 17; San Francisco 1931 (California Palace of the Legion of Honor), The Blue Four, Kat. Nr. 18; Oakland, CA 1931 (Art Gallery), The Blue Four, Kat. Nr. 56; Chicago 1932 (Arts Club), The Blue Four, Kat. Nr. 52 (hier datiert 1919); Paris 1956 (Galerie Jacques Fricker), Kat. Nr. 21 mit Abb. auf Farbtafel Nr. 9 ("Purple Gold"); Köln 1969 (Galerie Aenne Abels), Jubiläumskatalog 1919-1969, Kat. Nr. 14 mit Abb. (hier datiert 1916 und betitelt "Herbst")Über sechs Jahre hinweg arbeitete Alexej Jawlensky im Schweizer Exil an einem bildnerischen Komplex, offiziell von ihm „Variationen über ein landschaftliches Thema“ genannt. Der Blick aus dem Fenster seines improvisierten Ateliers in St. Prex eröffnete ihm einen Landschaftsausschnitt, dessen Elemente zu Protagonisten dieser Werkserie wurden. Das immer gleiche motivische Repertoire aus Zypressen, Büschen, Weg, Zaun und Gartentor wurde zunehmend abstrahiert und mit einem wesenhaften Charakter ausgestattet. In einem Prozess kontemplativer Versenkung während des Malprozesses gelang dem Künstler eine farblich und formal unendlich reich variierte Umsetzung. Jede Variation besitzt einen individuellen farblichen und kompositorischen Schwerpunkt und eine charakteristische Bildstimmung. Die elliptische Form einer großen Zypresse nimmt in dieser Arbeit die gesamte Bildhöhe ein und bildet den optischen Ankerpunkt der Komposition. Die weiteren Bildelemente gruppieren sich als kleinteiliges und überraschend geordnetes Gefüge in der rechten Bildhälfte. Die Farbwahl von Weiß und kühlen Blau- und Rottönen für einige Einzelformen setzt in der ansonsten von Erdfarben dominierten Variation frische Akzente. Alexej von JawlenskyVariation: Purpurgold (Herbst) Oil on linen-textured paper on card 36.3 x 25.5 cm (50.8 x 37.5 cm) Framed. Monogrammed 'A. J.' in grey lower left. - Drawing pin holes in the margins. The underlying card with traces of rubbing.Maria Jawlensky/Lucia Pieroni-Jawlensky/Angelica Jawlensky II 1044ProvenanceArtist's studio; Galka Scheyer, Hollywood, CA; Galerie Aenne Abels, Cologne (1969); Christie's London, Impressionist & Modern Paintings & Sculpture, 25 March 1980, Lot 45 ("Herbst-Variation"), Galerie Wolfgang Ketterer Munich, 71. Auktion 20. Jahrhundert, 30 May 1983, Lot 518; Orangerie, Cologne; Private collection, RhinelandExhibitionsHamburg/Munich/Hanover/Wiesbaden/Barmen/Dusseldorf/Mannheim 1920/1921 (Galerie Commeter/Galerie Hans Goltz/Kestner-Gesellschaft/Neues Museum/Ruhmeshalle/Kunsthalle), tavelling exhibition, cat. no. 77 (dated 1919); Berlin 1923 (Galerie Twardy); Hollywood, CA 1930 (Braxton Gallery), cat. no. 17; San Francisco 1931 (California Palace of the Legion of Honor), The Blue Four, cat. no. 18; Oakland, CA 1931 (Art Gallery), The Blue Four, cat. no. 56; Chicago 1932 (Arts Club), The Blue Four, cat. no. 52 (dated 1919); Paris 1956 (Galerie Jacques Fricker), cat. no. 21 with illus. color plate no. 9 ("Purple Gold"); Cologne 1969 (Galerie Aenne Abels), Jubiläumskatalog 1919-1969, cat. no. 14 with illus. (dated 1916 and titled "Herbst")For over six years, during his exile in Switzerland, Alexei Jawlensky worked on an artistic complex he officially referred to as “Variations on a Landscape Theme”. The view from the window of his improvised studio in Saint-Prex presented him with a passage from the landscape whose elements became the protagonists of this series of works. The unchanging repertoire of motifs consisting of cypresses, bushes, path, fence and garden gate were depicted in an increasingly abstract manner and invested with an essential character. In a process of contemplative absorption during the painting process, the artist succeeded in realising an infinite wealth of chromatic and formal variations. Each possesses an individual chromatic and compositional focal point and a characteristic visual mood. In this work, the elliptical form of a large cypress occupies the entire height of the painting and provides the composition with a visual anchor. The other pictorial elements are grouped in a finely partitioned and surprisingly orderly formation in the right half of the picture. The selection of white and cool tones of blue and red as the colours for several individual forms establishes fresh accents within this variation otherwise dominated by earth tones.
We found 19747 price guide item(s) matching your search
There are 19747 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
19747 item(s)/page
Melchior de HondecoeterEnten in bewaldeter Landschaft Öl auf Leinwand (doubliert). 83 x 66 cm.Signiert unten rechts: M. D. Hondecoeter.ProvenienzLord Newborough, Glynllifon, Llanwnda, Caernarfonshire, Wales. - Auktion seiner Sammlung, Christie’s, London, 18.3.1938, Lot 25. - Dort erworben von Vicars Brothers, London - Auktion Sotheby’s, London, 9.12.1987, Lot 94. - Douwes Fine Art, Amsterdam, 1989 (ausgestellt auf der TEFAF, Maastricht, März 1989, S. 57).LiteraturThe Connoisseur, September 1938, S. 445 ff. mit Abb.Melchior de Hondecoeter wird 1636 in Utrecht in eine Familie von Malern flämischer Herkunft geboren, unter denen sein Großvater der Landschaftsmaler Gillis de Hondecoeter war. Melchior beginnt seine malerische Ausbildung bei seinem Vater Gijsbert de Hondecoeter und setzt diese nach dessen Tod 1653 bei seinem Onkel Jan Baptist Weenix fort. Zwischen 1659 und 1663 ist Melchior in Den Haag dokumentiert, bis er 1663 nach Amsterdam zieht und dort Susana Tradel heiratet. In diesen Jahren beginnt er mit dem Malen von Vögeln und Stillleben mit Jagdmotiven sowie totem Wild. Sein reifer Stil lässt sich mit dem Werk des Tier- und Stilllebenmalers Frans Snyders in Verbindung bringen, dessen Gemälde er bewundert und sammelt. Häufig platziert Hondecoeter innerhalb seiner Kompositionen Vögel und andere Tiere am Bildrand, so dass diese vom Rand der Leinwand abgeschnitten sind, wie auch bei der uns vorliegenden Darstellung. Hondecoeter war ein produktiver Künstler und zu Lebzeiten, wie auch heute, hoch angesehen. Seine Werke wurden wegen ihres technischen Könnens und ihrer dekorativen Qualitäten geschätzt und von seinen Zeitgenossen gerne imitiert.Bereits ein Gemälde mit der Darstellung von Wildgeflügel, wie das uns vorliegende Werk, vermag es, auf die Gesellschaftsstruktur der Niederlande in der Frühen Neuzeit hinzuweisen. Aufgrund der Jagdprivilegien des Adels durfte Wildgeflügel zumeist nur von den adligen Pächtern der Wälder oder durch von ihnen ermächtigte Personen gejagt werden. So verwundert es nicht, dass der Jagd und der Beute ein besonderes Prestige zukam, da große Teile der Bevölkerung davon ausgeschlossen waren. Wir danken Dr. Fred G. Meijer für die Bestätigung der Authentizität anhand hochauflösender Fotografien. Melchior de HondecoeterDucks in a Wooded Landscape Oil on canvas (relined). 83 x 66 cm.Signed lower right: M. D. Hondecoeter.ProvenanceLord Newborough, Glynllifon, Llandwrog, Wales;His sale, Christie’s, London, 18 March 1938, lot 25;There acquired by Vicars Brothers, London;Anonymous sale, Sotheby’s, London, 9 December 1987, lot 94;With Douwes Fine Art, Amsterdam, 1989 (exhibited at TEFAF, Maastricht, March 1989, p. 57).LiteratureThe Connoisseur, September 1938, p. 445Melchior de Hondecoeter was born in Utrecht in 1636 into a family of painters of Flemish origin, one of whom, his grandfather, was the landscape painter Gillis de Hondecoeter. Melchior began his painterly training with his father Gijsbert de Hondecoeter and after his death in 1653, continued with his uncle Jan Baptist Weenix. Between 1659 and 1663 Melchior is documented in The Hague until he moved to Amsterdam in 1663 where he married Susana Tradel. It was during these years that he began painting birds and still lifes with hunting scenes and dead game. His mature style can be associated with the work of the animal and still life painter Frans Snyders whose paintings he admired and collected. Hondecoeter often placed birds and other animals around the edge of the picture so they were cropped from the edge of the canvas, as in the present depiction. Hondecoeter was a productive artist and highly regarded during his lifetime, as today. His works were valued for their technical skill and decorative qualities and were readily imitated by his contemporaries.Even a painting depicting wild fowl, as in the present work, is able to indicate the social structure of the Netherlands in the early modern period. Due to the hunting privileges of the nobility, wild fowl was mostly permitted to be hunted only by the noble tenants of the forests or by persons authorised by them. It is therefore not surprising that the hunt and its spoils accorded a special prestige since large parts of the population were excluded. We would like to thank Dr Fred G. Meijer for his confirmation of the authenticity from high resolution photographs.
![PAOLOZZI, Eduardo (1924-2005). General Dynamic F.U.N. Volume II of Moonstrips Empire News. [Volume B.] London: Alecto Edit](https://cdn.globalauctionplatform.com/90ffa5c4-0670-4589-81bb-ac7e00fac987/53865b44-e71f-4a57-b516-ac7e01113072/468x382.jpg)
PAOLOZZI, Eduardo (1924-2005). General Dynamic F.U.N. Volume II of Moonstrips Empire News. [Volume B.] London: Alecto Editions, 1970. Folio (381 x 254mm). Title, introduction by J. G. Ballard, 47 screenprints and photolithographs printed by Richard Davis after Eduardo Paolozzi only (of 50), each stamped on the verso with the number, title and a facsimile of the artist's signature, unbound as issued in original acrylic resin box. TITLE AND 5 PLATES (only) SIGNED IN PENCIL AND NUMBERED 116/350 BY THE ARTIST. The signed and numbered "plates" are as follows: "708. Why children commit suicide ... read next month's issue"; "709. An Empire of Silly Statistics ... A Fake War for Public Relations"; "714. Inside Down Under ... What are the building blocks of structuralism?"; "718. Totems and Taboos of the Nine-to-Five Day"; and "727. Jesus colour by numbers." Despite being numbered, the plates are not intended to be placed in any particular order. "Early in 1965, Eduardo Paolozzi began work on a massive project to create from his eclectic and unique collection of twentieth century ephemera a definitive statement of modern man and his dilemma, in the form of a 500 page book. The first volume of this project, 'Moonstrips Empire News', comprising 100 pages of images and text, was screenprinted at Kelpra Studios, London, and published by Editions Alecto in 1967. In the second volume, 'General Dynamic F.U.N.', Eduardo Paolozzi has broken still further away from accepted fine art printing techniques by brilliantly exploiting the potential of photolithography as well as screenprinting" (from the general introduction). "... Here the familiar materials of our everyday lives, the jostling iconographies of mass advertising and consumer goods, are manipulated to reveal their true identities. For those who can read its pages, 'General Dynamic F.U.N.' is a unique guidebook to the electric garden of our minds" (from J. G. Ballard's introduction).
A collection of miscellaneous silver to include, a modern caster, Barker Ellis Silver Co, Birmingham 1967, of traditional form, pierced pull off lid with knopped finial; together with a butter dish (glass lacking) Sheffield 1864; a small comport, Sheffield 1925, raised on three scroll legs; together with various condiments and spoons, including two moulded glass dishes and a cased set of twelve Art Deco style teaspoons, Edinburgh 1941(Weighable silver: 19.8oz)
An Edwardian diamond, pearl and aquamarine pendant necklace claw set with an old cushion-cut diamond, suspending two knife-bar links set with a single (untested) bouton pearl and an oval-cut aquamarine, to an integral unmarked yellow metal chain, unmarked, in a fitted box; together with a modern 9ct gold pendant, of scrolling Art Nouveau style, collet set to the centre with an oval amethyst cabochon and pearl drop, to a flattened-curb link chain, stamped 375 ITALY(Length of pendants: 60mm & 55mm (inc. bale))
GOLD BANGLE. A modern 22ct. yellow & white gold bangle with textured, Art Deco style surface. Approx. 12.5g. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
ART DECO BRACELET ETC. An Art Deco paste set, white metal bracelet & two modern paste set dress rings. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
ART DECO PENDANT. An Art Deco silver & enamelled Egyptian sarcophagus pendant, containing an enamelled mummy. Hung on modern silver chain. Length 3cm. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
§ James Brereton (1954-)oil on canvas'The Samuel Watts Hard Driving'signed24 x 36in.CONDITION: Oil on canvas which may well be re-lined certainly seems very thick, slight outward bulge of the canvas and one or two areas of pressure cracking showing as circular cracks, one running near 3 o'clock, the other near 9, otherwise paint slightly dirty but overall looks good, housed on a modern moulded wood frame with Fine Art of Oakham Ltd label verso.
Large 20th Century Art Deco style floor standing lamp of a semi nude girl with silvered and orange finish (lacking shade), 53ins highThese are modern and they are not made of spelter. A harder mix of metals. Lacking shade. Needs re-wiring otherwise just need cleaning, no major damage or restoration
** δ Banksy (b.1974)Trolleys (LA Edition)Screenprint in colours, 2007, numbered from the edition of 500 in pencil, on Arches 88 wove paper, published by Modern Multiples Fine Art Editions, with full margins, sheet 580 x 780mm (22 3/4 x 30 3/4in) (unframed)This work is accompanied by a certificate of authenticity issued by Pest Control Office.Please note this print is from the Barely legal (LA Edition), which was an intended edition of 500 but only circa 100 were printed.δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.** This lot has been imported from outside the EU to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the European Union, this duty can be refunded.
A RARE AND MASSIVE CHINESE GE-TYPE MOONFLASK, BAOYUEPING YONGZHENG 1723-35 The flattened body moulded to each side with a large circular central boss surrounded by nine ruyi-heads, decorated all over with a pale greenish-grey glaze suffused with dark crackles, the short cylindrical neck flanked by two applied scroll handles, all raised on a short gently flared foot, 50cm. Provenance: from the estate of Dikran Ouzounian (d.8th November 2011) and Seta Ouzounian (deceased), 79 Cadogan Square, London, and thence by descent. The glaze on this imposing moonflask is an active tribute to earlier Chinese Ge wares, which were notable for their deliberate irregular crackle. Whilst the exact location of the site remains unknown, the Ge kiln is regarded as one of the Five Great Kilns (Wu Da Ming Yao) of the Song dynasty, along with Ru, Jun, Guan and Ding wares. It is, however, interesting to note that no examples of Ge pieces have been discovered in Song dynasty tombs, and so their dating is still contentious amongst modern scholars. It is in fact possible that Ge pieces were not produced until the Yuan dynasty, perhaps as a copy of Song Imperial Guan wares. Imitations of Ge glazes applied to porcelain bodies first appeared during the Ming dynasty, and Imperial pieces of this type were produced during the reigns of the Xuande (r.1426-35) and Chenghua (r.1465-1487) Emperors. The later Ming saw the creation of only a few exceptional pieces of this type, and it was not until the reign of the Qing dynasty emperor Yongzheng (r.1723-35) that the imitation of Ge pieces was reinvigorated and reached new levels of sophistication. The Yongzheng Emperor is known to have been fascinated with the past and is remembered as a passionate collector of antiques. Under such a keen patron with great enthusiasm for works of art made for the Imperial Court, the potters at the Imperial Kilns in Jingdezhen carried out much research and experimentation during this period. The workers developed an extensive range of fine monochromes including reinventions of early wares, which reflected the Yongzheng Emperor's admiration of antiquity. Tang Ying (1682-1756), one of the most renowned supervisors of the Imperial Kilns, is particularly associated with the production of pieces imitating early wares during this period, and he writes about the production of imitation Ru, Guan and Ge wares in his Records of Ceramic Production (Taocheng jishi). For a more in-depth discussion on Yongzheng period copies of earlier Chinese wares, see Wang Qingzheng, Yongzheng Imitations of Guan, Ge, Ru and Jun Wares, Chinese Ceramics: Selected Articles from Orientations 1982-1998, pp.265-270. Cf. Bonhams Hong Kong, 26th May 2007, lot 220 for a similar vase; see also Sotheby's London, 8th November 2006, lot 173 for a comparable piece moulded with the Eight Trigrams; see also Sotheby's Hong Kong, 28th November 1978, lot 207 for a related Guan-type moonflask with the Eight Trigrams design.清雍正 仿哥窯抱月瓶來源：Dikran Ouzounian（逝於2011年11月8日）及Seta Ouzounian遺產，之後由其家族繼承。哥窯為宋朝五大名窯之一，其主要特征是釉面有大小不同的開裂紋片，是為南宋時期修內司官窯燒製的。早在宣德及成化年間的官窯已經開始在模仿宋代哥窯開片釉，這種技術發展到清代雍正時期可謂攀上新的高峰。這不僅是雍正皇帝憶古之情的體現，更要歸功於兩位著名督窯官年希堯與唐英。此種樣式源於波斯的金屬工藝品形狀，經改造以迎合漢人的審美。創燒於明永樂官窯，因成型時必須分別製作再粘合成器，故成品難度極大。由此件拍品可看出當時以異材器型和古代瓷釉所重新組合而成的仿古創新之作。
A 1940’s INTERNATIONAL WALES RUGBY UNION JERSEY MATCH-WORN BY BILLY CLEAVER (1921 – 2003) in traditional red with white collar, Prince of Wales feathers embroidered directly on to the jersey, with blue ribbon and ‘ICH DIEN’, bears label for D L Davies’ outlet ‘The Bon’, Swansea (faintly inscribed J W Kyle – please see provenance below), printed black ‘F’ to canvas panel stitched to back, together with a black and white still photograph of Cleaver’s kicking action Auctioneer’s Note: William Benjamin Cleaver was born in Treorchy in 1921. He was known as Billy Cleaver and later by his nickname, ‘Billy Kick’. There is perhaps an unfair perception that the typical Welsh amateur era rugby-player was a man lacking in culture, that their strength and determination came from hard labouring jobs in the collieries and heavy industry. Such a theory was often disproven, especially in the years following the second world war. The famous Welsh backline quartet during that period consisted of Bleddyn Williams, a product of Rydal School, Doctor. Jack Matthews – a physician, Haydn Tanner who attended Harvard Business School and then Billy Cleaver. Cleaver was a graduate of Mining at Cardiff University, he was a wine connoisseur, a tenor and an art enthusiast who later became the Secretary of the Contemporary Art Society of Wales. Cleaver’s nickname ‘Billy Kick’ was a betrayal of his personality and his rugby play, which was as cultured as the man himself. He had a far greater depth to his game than simply kicking. Cleaver was a robust, reliable and charismatic individual. With his distinguishable mop of blonde hair, he is an unmistakable figure in the team photos from the period - even in black and white. Cliff Morgan in ‘Heart and Soul: The Character of Welsh Rugby’, described one such photograph from the 1950 British Lions tour : ‘Rex Willis, Jack Matthews, Bleddyn Williams, Billy Cleaver and Cliff Davies look like a complete team in themselves; they stand (all much the same size and height whatever their position) with the confidence of gentlemen, some with their hands in their pockets, Bleddyn holding the ball, not unlike a group of army officers who have just won a regimental tour in Penang’. Cleaver was not only cultured and a gentleman of distinction, but he was one of the great utility backs of the early post-war era. He was best known for his defensive play but he had great technical ability in attack, being able to seamlessly take a pass on the move without interrupting the rhythm of play, while then moving the ball on to his outside with elegance, invariably he would then spirit behind his centres to make himself available again in the move. If the ball was dropped or came loose, he regularly scooped the ball effortlessly from his toes before it was turned over to the opposition. As with many naturally gifted sportsmen, Cleaver was not inclined to train too hard. His playing colleagues were staggered that he could muster such emphatic performances in a match while having such a casual approach to the game. He won 14 caps for Wales between 1947 and 1950, winning nine matches and drawing two. His many achievements included the distinction of playing in three different positions against the 1947-48 Wallabies on their tour of Europe and finishing on the winning side each time. He was also an intelligent and very effective pivot in Wales’ Grand Slam of 1950, their first after a thirty-nine-year barren spell. In the same year, he toured Australia and New Zealand with the British Lions, when he played in all three of the New Zealand tests at fullback. One of the old after-dinner stories from the 1950 British Lions tour was that the tourists stopped at Ceylon on their sea-passage home, where they played a one-off match against the national team. Billy Cleaver, much to the amusement of the rest of the party, ended up running the line for the match where he was constantly heckled by the locals to give the score. Cleaver could excel anywhere in the backline, but fly-half is where he enjoyed playing the most. He spent six years at Cardiff RFC primarily as a fly-half, between 1945 and 1951, making 150 appearances. During the Second World War years he firstly played with Billy Darch as his half-back partner for Cardiff, who was replaced when Haydn Tanner joined the club, and they teamed up in one of the most famous halfback partnerships in rugby history. The 1947/48 season was particularly special at Cardiff, one in which he partnered with Tanner at scrumhalf and with the sublime partnership of Bleddyn Williams and Jack Matthews on his outside. That season was regarded as Cardiff’s best, they scored a remarkable 182 tries in 41 games and lost only twice. In ‘Rugger, My Life’ Bleddyn Williams writes a glowing tribute: ‘Cleaver was a natural footballer; but because people wanted a fly-half moulded on classical lines he was in and out of the Welsh team, playing at centre and full-back as well. But fly-half was his position, and I felt so all the time I was playing there for Wales against England in 1947. If “Billy Kick” had been out half that day I think Wales might have won.’ On his return from the Lions tour of 1950, Cleaver declined an invitation to be captain of Cardiff, instead retiring from the game entirely at the age of 29, to pursue further his career in mining. By the young age of 28 years of age, he had already become manager of North Celynen Colliery in Monmouthshire, eventually becoming a Deputy Director of the South Wales Coalfield. His premature retirement was a great loss to Welsh Rugby. But it was typical of the man who regarded rugby casually, as just another of his many interests and talents. He did however come back to figure at scrumhalf for the Lions against his beloved Cardiff to commemorate their 75th anniversary in 1951, partnering with Jack Kyle for one of the most spectacular games in post war rugby. Provenance: consigned in Ireland, from the collection of the late Jack Kyle OBE (1926 - 2014), one of Ireland's most famous players. The two players swapped jerseys on one of the occasions that they faced each other in 1947 or 1949 before the Wales team used a numbering system. The two players became good friends on tour with the British Lions where ‘he and Jack Kyle were as loth to appear at training periods as modern players are to pass the ball out in their own “25”….both their names will never be forgotten in the history of Rugby football.’ (Rugger, my life; Bleddyn Williams; Anchor press, 1956) Condition Report: one of the two buttons missing, faded printed ‘F’ on panel, small area of fading on back down spine, one small stitching repair on back which is believed to have been done during playing days, a few small blemishes but not serious, structurally no problems, in excellent condition overall, it has not been displayed so generally not faded and without pinholes or long-term folds
◆ SAMUEL JOHN PEPLOE R.S.A (SCOTTISH 1871-1935) INTERIOR WITH GIRL IN WHITE Signed, oil on canvas(102cm x 76cm (40in x 30in))Footnote: Provenance: Willy Peploe, the artist's brother. Exhibited: Scottish National Gallery of Modern Art, 'Peploe' 1985, no.42; Duncan Miller Fine Arts, London, 'The Scottish Colourists,' 1995, no.1.
§ JOHN MAXWELL R.S.A (SCOTTISH 1905-1962) HUNTSMAN 11 Signed and dated 1940, inscribed and dated 'C.Y.K. for D.P. 11th Dec 1941', pen and ink and watercolour(44.5cm x 49cm (17.5in x 19.25in))Footnote: Provenance: Mrs W. Burroughs. Exhibited: Scottish National Gallery of Modern Art, 'John Maxwell Memorial Exhibition' 1963, no.66, Arts Council of Great Britain, Ill.pl.5 Scottish National Gallery of Modern Art, 'John Maxwell' 1999, no.38 Literature: David McClure, John Maxwell 1976, Ill.10.
§ GERALD LAING (BRITISH 1936-2011) WOMAN WITH LONG HAIR Signed, inscribed and dated 1975 hashtag 336 on the base, also with a personal inscription 'For D.H - God bless hang in and jump from G + G.O.L August 1979', African wonderstone(16.5cm x 11cm x 12cm h. (6.5in x 4.25in x 4.75in h.))Footnote: Note: The D.H referred to in the inscription is Douglas Hall, former Keeper of the Scottish Gallery of Modern Art, Edinburgh. Reference: This sculpture is recorded in the Gerald Laing archive CR No.357 as whereabouts unknown.
Samon Valley Culture, 800 BC-200 AD. The mostly opaque stone of a black color with yellow-green translucent areas at the top, finely carved to represent a deity standing upright with a distinctive broad nose and prominent buttocks, the legs close together and the arms folded below the chest. Pierced through the figure’s neck to allow suspension as a pendant.This piece was personally examined by Burmese American archaeologist and gemologist Terence Tan, a leading expert in Pyu art and Burmese gemstones, and Hungarian gemologist Dr. József Takács. Their analysis finds that the stone is a black agate (onyx) and the talisman is original, ancient, cut by hand with carving, chiseling, boring and grinding. The color is natural. The stone has been cleaned in a tumbler and re-polished by hand. There are sandy deposits in the recesses of the stone. The marks of authentic ancient craftsmanship are clearly visible. The holes are ancient, handmade, irregular, funnel-shaped, with no trace of modern intervention. A certificate signed by Dr. Zelnik attesting to the above will be handed to the winning bidder upon request.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Good condition with minor traces of age and wear, a small natural age crack with a tiny associated loss to one arm.Weight: 29.1 gDimensions: Height 6.2 cm
Pyu city-states, 2nd-10th century. The opaque stone of a mottled spinach-green tone with natural white and dark inclusions, skillfully carved as a seated monkey looking sideways with its hands clasped together behind its head, as if trying to hide a piece of food or precious object it has found. Pierced through the monkey’s hands and legs to allow suspension as a pendant.This piece was personally examined by Burmese American archaeologist and gemologist Terence Tan, a leading expert in Pyu art and Burmese gemstones, and Hungarian gemologist Dr. József Takács. Their analysis finds that the stone is a green aventurine and the talisman is original, ancient, cut by hand with carving, boring and grinding. The color is original and natural. The stone has been cleaned by hand while preserving the fine ancient patina. There are no traces of dying in the recesses of the stone. The marks of authentic ancient craftsmanship are clearly visible. The holes are ancient, handmade, irregular, funnel-shaped, with no signs of modern intervention. A certificate signed by Dr. Zelnik attesting to the above will be handed to the winning bidder upon request.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear.Weight: 24.1 gDimensions: Height 5.5 cm
Samon Valley culture or early Pyu city-states, 800 BC-5th century AD. The ancient necklace consisting of 31 amethyst beads of oval and round shapes, pale to deep lavender color, and varying translucency, held together by a modern plastic string.This piece was personally examined by Burmese American archaeologist and gemologist Terence Tan, a leading expert in Pyu art and Burmese gemstones, and Hungarian gemologist Dr. József Takács. Their analysis finds that the stones are rare pink-colored amethysts, original, ancient, cut, carved, chiseled, bored, and ground. The beads are of different sizes and all made by hand using primitive tools. The color is original and natural. The stone has been cleaned by hand while preserving the fine ancient patina. There are no traces of later dying in the recesses of the stone. The beads have been cleaned by hand while preserving the fine ancient patina. The holes are ancient, handmade, and irregular. A certificate signed by Dr. Zelnik attesting to the above will be handed to the winning bidder upon request.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear, some natural fissures to the stones, and surface scratches. Weight: 62.3 gDimensions: Length 49 cmPublished: Burmese Gemstone Beads From The Collection of Dr. Zelnik, no. BR. 856 (page 375), Budapest 2019.
Pyu city-states, 2nd-10th century. The translucent stone of good clarity with some natural inclusions, finely carved as a tiger with a cub in its mouth, a very rare depiction. Large piercing through the mouth and tail allowing for suspension as a pendant.This piece was personally examined by Burmese American archaeologist and gemologist Terence Tan, a leading expert in Pyu art and Burmese gemstones, and Hungarian gemologist Dr. József Takács. Their analysis finds that the stone is a rock crystal and the talisman is original, ancient, cut by hand with carving, chiseling, boring, and grinding. The color is original and natural. The stone has been cleaned by hand while preserving the fine ancient patina. There are clear marks of authentic ancient craftsmanship and use of primitive tools. The holes are ancient, handmade, irregular, funnel-shaped, the use of an iron needle is apparent due to the transparency of the stone, the holes having been made from both sides, the difficulty of execution can be seen. There is no evidence of a later external intervention or the use of modern instruments on this piece. A certificate signed by Dr. Zelnik attesting to the above will be handed to the winning bidder upon request.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear.Weight: 48.3 gDimensions: Length 7.8 cmLiterature comparison: Similar tiger talismans are published in Burmese Gemstone Amulets and Talismans Volume 1 (part of the series From the Collection of Dr. Zelnik), pages 94/95 and 142/143, Budapest 2016.
Persia, Hellenistic period, 4th-1st century BC. The scarab talisman finely carved and incised, with a seal to the underside, and pierced to allow for suspension as an amulet. Scarabs were popular amulets and impression seals in ancient Egypt, a symbol for rebirth and regeneration which from the Middle Bronze Age (2100–1550 BC) spread across the Mediterranean and Middle East. This piece was found near Persepolis, the ancient capital of Persia. This piece was personally examined by Burmese American archaeologist and gemologist Terence Tan and Hungarian gemologist Dr. József Takács. Their analysis finds that the stone is a lapis lazuli of excellent quality from Afghanistan and the scarab is original, ancient, cut by hand with carving, chiseling, boring, and grinding. The color of the stone is original with no traces of dye in the recesses. The stone has been cleaned in a tumbler and re-polished by hand, preserving the fine ancient patina. The holes are ancient, irregular, and funnel-shaped. There are no traces of use of modern tools. A certificate signed by Dr. Zelnik attesting to the above will be handed to the winning bidder upon request.Provenance: Ex-collection of the imperial family of Mohammad Reza Pahlavi, last Shah of Iran (a letter of provenance signed by Dr. Zelnik will be handed out to the winning bidder upon request). Ex-Collection of The Zelnik István Southeast Asian Gold Museum, acquired from the above. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with expected minor traces of age and wear.Weight: 3.0 gDimensions: Size 0.8 x 1.7 cm
Persia, Hellenistic period, 4th-1st century BC. The ancient necklace consisting of 27 garnets of irregular shape, the semi-translucent stones of a fine dark bloodred color. The stones were found near Persepolis, the ancient capital of Persia. They are held together by a modern plastic string and gold clasp. This piece was personally examined by Burmese American archaeologist and gemologist Terence Tan, a leading expert in Pyu art and Burmese gemstones, and Hungarian gemologist Dr. József Takács. Their analysis finds that the stones are antique red garnet of very high quality from Yemen or Ethiopia and traded to the Persian Empire. The stones are original, ancient, cut, bored, and ground. The color of the stones is original and natural. The stones have been cleaned by hand while preserving the fine original ancient patina. The holes are ancient, handmade, and irregular. A certificate signed by Dr. Zelnik attesting to the above will be handed to the winning bidder upon request.Provenance: Ex-collection of the imperial family of Mohammad Reza Pahlavi, last Shah of Iran (a letter of provenance signed by Dr. Zelnik will be handed out to the winning bidder upon request). Ex-Collection of The Zelnik István Southeast Asian Gold Museum, acquired from the above. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with expected minor traces of age and wear.Weight: 128.8 gDimensions: Length 39 cm
NO RESERVE Modern & Contemporary Art.- Livingstone (Marco) Paula Rego, signed by the artist, original wrappers, Madrid, 2007 § Vanessa Beecroft: Performances 1993-2003, signed by the artist, Milan, 2003 § Rewald (S.) Balthus, New York, 1984 § Manolo Valdés: Pintura y Escultura, Bilbao, 2002 § Suarez (Ruben) & others. Daniel Quintero: Pinturas y Dibujos, Oviedo, 1997 § Honnef (K.) Contemporary Art, Cologne, 1988, illustrations, many colour, all but the first original cloth or boards with dust-jackets; and c.45 others on modern and contemporary art, some catalogues, 4to (c.50)
Modern Art.- Ollinger-Zinque (Gisele) & Frederik Leen. Magritte 1898-1967, Ghent, 1998 § Lloyd (J.) & Michael Peppiatt, editors. Christian Schad. Das Frühwerk 1915-1935: Gemälde, Zeichnungen, Schadographien, Munich, 2002 § Lee (Jane) Derain, Oxford & New York, 1990 § Cendrars (B.) & others. F.Leger, Basle, 1970 § Selz (Jean) Foujita, Naefels, 1981, illustrations, many colour, original cloth or boards with dust-jackets; and c.65 others on early-mid 20th century art, many catalogues, v.s. (c.70)
NO RESERVE Sculpture.- Farr (Dennis) & Eva Chadwick. Lynn Chadwick Sculptor with a Complete Illustrated Catalogue 1947-1988, Oxford, 1990 § Mullins (Edwin) The Art of Elisabeth Frink, 1972 § Strachan (W.J.) Henry Moore: Animals, 1983 § Wilkins (M.-J., editor) Lorenzo Quinn, 2007 § Wilkin (K.) & Kosme de Barañano. Anthony Caro: Galvanised Steel Sculptures, 2007, illustrations, some colour, original cloth or boards, all but the last with dust-jackets, some a little rubbed or soiled; and c.45 others on sculpture, mostly modern and British, some catalogues, v.s. (c.50)
NO RESERVE Ancient & Tribal Art.- Thompson (J.Eric S.) The Rise and Fall of Maya Civilization, second edition, Norman, Ok., 1966 § Lothrop (S.K.) Treasures of Ancient America: Pre-Columbian Art from Mexico to Peru, 1979 § McNeish (James) & others. Art of the Pacific, 1979 § Korn (J.) Modern Makonde Art, 1974 § Broderick (A.H.) Father of Prehistory. The Abbé Henri Breuil: His Life and Times, New York, 1963 § Groenewegen-Frankfort (H.A.) & Bernard Ashmole. Art of the Ancient World, second printing, New York, n.d. § Henig (M.) A Handbook of Roman Art, 1983, illustrations, many colour, original cloth or boards with dust-jackets; and c.45 others on archaeology, ancient and tribal art, v.s. (c.50)
NO RESERVE American Art.- Wilmerding (John) Andrew Wyeth: The Helga Pictures, New York, 1987 § Barter (J.) & others. Mary Cassatt: Modern Woman, Chicago, 1998 § Perreault (John) Philip Pearlstein: Drawings and Watercolors, New York, 1988 § Honnef (K.) Andy Warhol 1928-1987: Commerce into Art, Cologne, 1990 § Benezra (N.) & others. Celebrating Modern Art: The Anderson Collection, Berkeley, Los Angeles & London, 2000 § Waldman (D.) Roy Lichtenstein, New York, 1993; Ellsworth Kelly: A Retrospective, New York, 1996, illustrations, many colour, the last two original wrappers, the rest original cloth or boards with dust-jackets; and c.20 others on American art, mostly modern, 4to (c.25)
NO RESERVE British illustration.- Whistler (Rex) Celebrations at the end of South African War, original design for an advertisement for Rothmans, pen and brownish black ink, heightened with body white, title inscribed underneath mount, 210 x 150 mm (8 1/4 x 5 7/8 in), under glass, minor surface dirt, framed, [circa 1940-44]Provenance:Sale. Bonham's, Modern Pictures, 13th May 2008, [part of lot 228];Chris Beetles Ltd., London:Sale. Chiswick Auctions, London, 26th July 2017 [lot 51]Literature:Whistler & Fuller, The Work of Rex Whistler, 1960, p. 104, 650Exhibited:Chris Beetles Ltd., The British Art of Illustration 1870-2009, no. 207
NO RESERVE Judaica.- Gersht (Ori) History Repeating, inscribed by the artist, 2012 § Zalmona (Yigal) A Century of Israeli Art, Farnham, 2010 § Strosberg (E.) Human Expressionism: The Human Figure and the Jewish Experience, Paris, 2008 § Cruise (Colin) Love Revealed: Simeon Solomon and the Pre-Raphaelites, 2005, illustrations, many colour, original cloth or boards, all but the second with dust-jackets; and c.15 others on Jewish art and artists, mostly modern, 4to (c.20)
Modern British Art.- Heller (Robert) Peter Howson, signed by the author and by Howson with signed sketch on title, 2003 § Jahn (Wolf) The Art of Gilbert & George..., 1989 § Hughes (Patrick) Left to Write: Collected Writings, signed by the author, 2008 § Arwas (Victor) & others. Graham Ovenden, 1987 § Hayes (John) The Art of Graham Sutherland, Oxford, 1980 § Hicks (A.) The School of London: the Resurgence of Contemporary Painting, Oxford, 1989 § Seipel (W.) & others. Francis Bacon and the Tradition of Art, Vienna, 2004 § Bell (Keith) Stanley Spencer, 1999, illustrations, many colour, the last two original wrappers, the rest original cloth or boards with dust-jackets, the fifth rubbed; and a quantity of others on modern and contemporary British art, many catalogues, v.s. (c.100)
† Dame Lucie Rie (1902-1995), a studio pottery stoneware swan neck vase, circa 1956, ovoid form with elongated and flared neck, white oatmeal glaze with integrated manganese speckles, artist seal mark, 40cm high Note: see Birks, T. 2009, Lucie Rie, Catrine, p.129 and the back cover illustration for similar examples; Lucie Rie – A Retrospective, exhibition 2010, The National Museum of Modern Art, Tokyo, p.109 for a similar example
Debschitz-Kunowski, Wanda von: Female nude and portrait Female nude and portrait. 1910s. 2 vintage platinum prints. 10,5 x 17 cm and 19 x 15 cm (39,2 x 29,6 cm). Nude with photographer's blindstamp in lower left, mounted to paper (edges worn, creases, some toning), portrait signed by the photographer in pencil below the image in margin. Wanda von Debschitz-Kunowski was married to Wilhelm von Debschitz, the co-founder of a private reform art school in Munich in 1902. From 1904-1914 she worked at the school as a photographer teaching courses as well as photographing student's work. In 1921, after divorcing von Debschitz, she founded her own photographic studio in Berlin and photographed applied art objects, personalities as well as modern architecture and exhibitions. – Portrait with some toning in margins, otherwise rich beautiful prints in very good condition. Debschitz-Kunowski, Wanda von: Female nude and portrait Female nude and portrait. 1910s. 2 vintage platinum prints. 10,5 x 17 cm and 19 x 15 cm (39,2 x 29,6 cm). Nude with photographer's blindstamp in lower left, mounted to paper (edges worn, creases, some toning), portrait signed by the photographer in pencil below the image in margin. Wanda von Debschitz-Kunowski was married to Wilhelm von Debschitz, the co-founder of a private reform art school in Munich in 1902. From 1904-1914 she worked at the school as a photographer teaching courses as well as photographing student's work. In 1921, after divorcing von Debschitz, she founded her own photographic studio in Berlin and photographed applied art objects, personalities as well as modern architecture and exhibitions. – Portrait with some toning in margins, otherwise rich beautiful prints in very good condition.
Feininger, Andreas: Badende II (Attributed to). "Badende II, 1917" (photographic reproduction of the painting by Lyonel Feininger). 1920s. Vintage gelatin silver print. 18 x 23,8 cm. Titled and dated in ink by Lyonel Feininger and annotated in pencil on the verso. Andreas Feininger spent his early years in Berlin and Weimar and became interested in photography when he photographed his father's oil paintings. Interesting is Lyonel Feininger's handwritten note on the back of the photo: "Harry Fuld Collection, Frankfurt a.M.". Fuld was the only son of a wealthy Frankfurt art and antiques dealer and was actually supposed to join the family art and antiques shop of J. and S. Goldschmidt. However, after various volunteer positions in London, Paris and Brussels, he had to choose a different career. Harry Fuld collected modern art (advised by Georg Swarzenski), building an extensive collection. With a partner he had previously founded the German Private Telephone Company H. Fuld & Co. After his death in 1932, the company was "aryanized" in 1933 and his heirs emigrated in 1937. The painting "Badende II" has been considered lost since then. – Slight edge wear, some oxidation mirroring in edges, a few handling marks, otherwise in good condition. Lit.: Caroline Flick: Raubkunst exemplarisch. Harry Fuld, Hans W. Lange, Kurt Gerstein und Herni Matisses „Le Mur Rose“. In: Jahrbuch für westfälische Kirchengeschichte, Band 105 (2009), p. 419–486. Feininger, Andreas: Badende II (Attributed to). "Badende II, 1917" (photographic reproduction of the painting by Lyonel Feininger). 1920s. Vintage gelatin silver print. 18 x 23,8 cm. Titled and dated in ink by Lyonel Feininger and annotated in pencil on the verso. Andreas Feininger spent his early years in Berlin and Weimar and became interested in photography when he photographed his father's oil paintings. Interesting is Lyonel Feininger's handwritten note on the back of the photo: "Harry Fuld Collection, Frankfurt a.M.". Fuld was the only son of a wealthy Frankfurt art and antiques dealer and was actually supposed to join the family art and antiques shop of J. and S. Goldschmidt. However, after various volunteer positions in London, Paris and Brussels, he had to choose a different career. Harry Fuld collected modern art (advised by Georg Swarzenski), building an extensive collection. With a partner he had previously founded the German Private Telephone Company H. Fuld & Co. After his death in 1932, the company was "aryanized" in 1933 and his heirs emigrated in 1937. The painting "Badende II" has been considered lost since then. – Slight edge wear, some oxidation mirroring in edges, a few handling marks, otherwise in good condition. Lit.: Caroline Flick: Raubkunst exemplarisch. Harry Fuld, Hans W. Lange, Kurt Gerstein und Herni Matisses „Le Mur Rose“. In: Jahrbuch für westfälische Kirchengeschichte, Band 105 (2009), p. 419–486.
Singh, Raghubir: After Crossing the Luni River, Barmer, Rajasthan "After Crossing the Luni River, Barmer, Rajasthan". 1975/printed circa 1985. Dye transfer print. 24,2 x 37,2 cm (41,5 x 51,2 cm). Singh was born in Jaipur to an aristocratic Rajput family. His grandfather was commander-in-chief of the Jaipur armed forces, his father a Thakur or feudal landowner of Khetri (Rajasthan). After independence, the family lost influence and much of its wealth. As a student he discovered "Beautiful Jaipur", Cartier-Bresson's little-known book published in 1948, which aroused his interest in photography. Today he is regarded as one of the great pioneers of early color photography alongside important photographers such as William Eggleston, Stephen Shore, Joel Sternfeld and Joel Meyerowitz. Singh's work documents Indian culture and the changing times the country has faced. Singh's works have primarily been shown in major American institutions, such as the Metropolitan Museum of Art, Museum of Modern Art, Tate Modern, and many others. He has published more than fourteen books on India and received numerous international awards. A print of this image is in the Metropolitan Museum of Art, New York. – Light handling mark in lower right in margin, otherwise a fine print in excellent condition. Singh, Raghubir: After Crossing the Luni River, Barmer, Rajasthan "After Crossing the Luni River, Barmer, Rajasthan". 1975/printed circa 1985. Dye transfer print. 24,2 x 37,2 cm (41,5 x 51,2 cm). Singh was born in Jaipur to an aristocratic Rajput family. His grandfather was commander-in-chief of the Jaipur armed forces, his father a Thakur or feudal landowner of Khetri (Rajasthan). After independence, the family lost influence and much of its wealth. As a student he discovered "Beautiful Jaipur", Cartier-Bresson's little-known book published in 1948, which aroused his interest in photography. Today he is regarded as one of the great pioneers of early color photography alongside important photographers such as William Eggleston, Stephen Shore, Joel Sternfeld and Joel Meyerowitz. Singh's work documents Indian culture and the changing times the country has faced. Singh's works have primarily been shown in major American institutions, such as the Metropolitan Museum of Art, Museum of Modern Art, Tate Modern, and many others. He has published more than fourteen books on India and received numerous international awards. A print of this image is in the Metropolitan Museum of Art, New York. – Light handling mark in lower right in margin, otherwise a fine print in excellent condition.
Eggleston, William: William Eggleston's Guide William Eggleston's Guide. With a text by John Szarkowski. 110 p., 1 l. with numerous full-page color illustrations. 23,5 x 23,5 cm. Original black imitation leather covered boards with a tipped in photograph and words gilt pressed on the cover and spine. New York, Museum of Modern Art, 1976. First edition. Parr and Badger. The Photobook. p. 265. The Open Book. pp. 308-309. One of the most significant modern photobooks, especially noted for its use of color photography. This collection, showing images of life in Tennessee, Mississippi and Alabama, was issued in conjunction with the first exhibition of a color photographer's work at the Museum of Modern Art, New York. "Eggleston's pictures are at once modest and monumental, vulgar and refined, ordinary and strange, prosaic and poetic, commonplace and unforgettable." (Parr. p. 265). Signed and dedicated 1983 to Wilmar Koenig by the photographer in ink on the title page, as well as Koenig's signature and year 1979. – A few nicks on front cover, tipped in illustration slightly rubbed, minimal toning in edges of end and loose flypapers, otherwise very good copy. Eggleston, William: William Eggleston's Guide William Eggleston's Guide. With a text by John Szarkowski. 110 p., 1 l. with numerous full-page color illustrations. 23,5 x 23,5 cm. Original black imitation leather covered boards with a tipped in photograph and words gilt pressed on the cover and spine. New York, Museum of Modern Art, 1976. First edition. Parr and Badger. The Photobook. p. 265. The Open Book. pp. 308-309. One of the most significant modern photobooks, especially noted for its use of color photography. This collection, showing images of life in Tennessee, Mississippi and Alabama, was issued in conjunction with the first exhibition of a color photographer's work at the Museum of Modern Art, New York. "Eggleston's pictures are at once modest and monumental, vulgar and refined, ordinary and strange, prosaic and poetic, commonplace and unforgettable." (Parr. p. 265). Signed and dedicated 1983 to Wilmar Koenig by the photographer in ink on the title page, as well as Koenig's signature and year 1979. – A few nicks on front cover, tipped in illustration slightly rubbed, minimal toning in edges of end and loose flypapers, otherwise very good copy.
Jacobi, Lotte: Photogenic abstraction; Vulture Photogenic abstraction; Vulture. 1946/printed later. 2 photo postcards. Each circa 13,3 x 8,7 cm. Each signed by the photographer in pencil below the image in the margin. Encouraged by Leo Katz, in the early 1940s Lotte Jacobi began experimenting with making photographs without a camera. It was Katz who coined the term "Photogenics" for these renditions of paths of light and for him these images were true "original" art objects, devoid of the reproducible nature of normal photographs. Jacobi's photogenics follow the new concepts in the visual arts of the time and were included in such avantgarde exhibitions as In and Out of Focus in 1948 and Abstraction in Photography in 1951, both at the Museum of Modern Art in New York, as well as in the second Subjektive Fotografie exhibition in 1954 in Saarbrücken. – A few light pressure marks, otherwise in very good condition. – With: Self-portrait of Lotte Jacobi. 1940s. Gelatin silver print. 35,2 x 27,8 cm. Signed by the photographer in pencil in lower right corner and copyright in the negative in lower left corner. - Slightly buckled in upper edge, a few light handling marks, otherwise in good condition. Lit.: Marion Beckers/Elisabeth Moortgat. Atelier Lotte Jacobi - Berlin, New York. Berlin 1997. ill. pp. 191-192 (similar photogenics). Jacobi, Lotte: Photogenic abstraction; Vulture Photogenic abstraction; Vulture. 1946/printed later. 2 photo postcards. Each circa 13,3 x 8,7 cm. Each signed by the photographer in pencil below the image in the margin. Encouraged by Leo Katz, in the early 1940s Lotte Jacobi began experimenting with making photographs without a camera. It was Katz who coined the term "Photogenics" for these renditions of paths of light and for him these images were true "original" art objects, devoid of the reproducible nature of normal photographs. Jacobi's photogenics follow the new concepts in the visual arts of the time and were included in such avantgarde exhibitions as In and Out of Focus in 1948 and Abstraction in Photography in 1951, both at the Museum of Modern Art in New York, as well as in the second Subjektive Fotografie exhibition in 1954 in Saarbrücken. – A few light pressure marks, otherwise in very good condition. – With: Self-portrait of Lotte Jacobi. 1940s. Gelatin silver print. 35,2 x 27,8 cm. Signed by the photographer in pencil in lower right corner and copyright in the negative in lower left corner. - Slightly buckled in upper edge, a few light handling marks, otherwise in good condition. Lit.: Marion Beckers/Elisabeth Moortgat. Atelier Lotte Jacobi - Berlin, New York. Berlin 1997. ill. pp. 191-192 (similar photogenics).
MODERN ART: A good small selection of signed photographs by various contemporary artists comprising ALBERT OEHLEN (1954- ) German Artist. A member of the Berlin “Bad Boy” group. Signed 8 x 10 photograph, the image depicting the German artist in a close-up portrait pose. Signed in bold blue ink across the image; ALEX KATZ (1927- ) American Painter and Sculptor. Signed 8 x 10 photograph, the image depicting the awarded artist in a half-length pose. Signed in bold blue ink to a clear area of the image, and MARKUS LUPERTZ (1941- ) German painter and Sculptor. One of the best-known German contemporary artists. His art work is associated to neo-expressionism. Known for his eccentricity, he is also known as a "Painter Prince”. Signed colour 5 x 7 photograph. The image showing the artist standing in his painting studio, with his works to the background. EX, 3
KLEE PAUL: (1879-1940) Swiss-born Artist. Best known for his Paul Klee Notebooks, and his Writings on Form and Design Theory, widely considered as the most complete presentation of the principles of modern art design. A good A.L.S., `Klee´, two pages, to an oblong 7 x 3.5 card, Bern, Kistenweg 6, December 1937, to Mr. Dotsch-Benzinger, in German. Klee refers to his correspondent´s letter and states `I was glad to read your lines because you say that I did a good choice with my painting. The project of a new art meeting is very pleasant, and I hope that you will find an opportunity so we can meet in person. In the meantime I send you my best wishes to you and to your wife for the new year.´ VG
RICHTER, GERHARD RICHTER, GERHARD 1932 Dresden Titel: Schweizer Alpen (A1). Datierung: 1969. Technik: Farbserigrafie auf weißem Halbkarton. Maße: 69,5 x 69,5cm. Bezeichnung: Signiert. Herausgeber: Griffelkunst-Vereinigung Hamburg-Langenhorn e.V. (Hrsg.) Auf der Rückseite unten links befinden sich die Stempel "GERHARD RICHTER (1969), SCHWEIZER ALPEN A1 A2 B1 B2 B3", wobei das zutreffende Motiv eingekreist ist. Die Auflage erschien in einer Höhe von 300 signierten Exemplaren. Provenienz: - Privatsammlung Norddeutschland. Erläuterungen zum Katalog Gerhard Richter Deutschland Abstraktion Kapitalistischer Realismus Neuer Realismus Nachkriegskunst Grafik 1960er Gebirge Druckgrafik Serigrafie Schweiz RICHTER, GERHARD RICHTER, GERHARD 1932 Dresden Title: Schweizer Alpen (A1). Date: 1969. Technique: Colour silkscreen on white thin card. Measurement: 69,5 x 69,5cm. Notation: Signed. Herausgeber: Griffelkunst-Vereinigung Hamburg-Langenhorn e.V. (publisher) On the back panel bottom left is the stamp "GERHARD RICHTER (1969), SCHWEIZER ALPEN A1 A2 B1 B2 B3", with the corresponding motif circled. The edition was published with 300 signed copies. Provenance: - Private collection North Germany. Explanations to the Catalogue Gerhard Richter Germany Abstraction Capitalistic Realism New Realism Post-War Art Prints 1960s Mountains Print Silkscreen Switzerland
MATARÉ, EWALD MATARÉ, EWALD 1887 Aachen - 1965 Büderich Titel: Zeichen einer Kuh I. Datierung: 1946 (Entwurf). Technik: Bronze, braun patiniert. Maße: 5 x 9 x 5cm. Bezeichnung: Künstlersignet auf der Unterseite. Provenienz: - Privatsammlung Hessen Literatur: - Schilling, Sabine Maja: Ewald Mataré - Das plastische Werk, Werkverzeichnis, Köln 1987, WVZ.-Nr. 293. Erläuterungen zum Katalog Ewald Mataré Deutschland Expressionismus Kubismus Moderne Kunst Objekte 1940er Tiere Skulptur Bronze MATARÉ, EWALD MATARÉ, EWALD 1887 Aachen - 1965 Büderich Title: Zeichen einer Kuh I. Date: 1946 (Design). Technique: Bronze, patinated brown. Measurement: 5 x 9 x 5cm. Notation: Artist's signet underneath. Provenance: - Private collection Hesse Literature: - Schilling, Sabine Maja: Ewald Mataré - Das plastische Werk, Werkverzeichnis, Cologne 1987, cat. rais. no. 293. Explanations to the Catalogue Ewald Mataré Germany Cubism Modern Art Sculptures 1940s Animals Sculpture Bronze
RITSCHL, OTTO RITSCHL, OTTO 1885 Erfurt - 1976 Wiesbaden Titel: Komposition. Datierung: 1963. Technik: Öl auf Leinwand. Maße: 99,5 x 80cm. Bezeichnung: Signiert und datiert unten links: Ritschl 63. Verso nochmals signiert und bezeichnet: Ritschl, Komp. 63/48.Das Gemälde ist im Werkverzeichnis Mirus ebenfalls unter der WVZ.-Nr. 1963/48 mit dem Vermerk "Komposition zerstört" gelistet. Das Werk wurde jedoch nachträglich übermalt ist daher mit Abbildung, jedoch abweichender Datierung, unter der WVZ.-Nr. 1964/7 zu finden. Wir danken Herrn Nikolas Werner Jacobs, Museumsverein Ritschl e.V., Wiesbaden, für diesen Hinweis und die freundliche wissenschaftliche Unterstützung. Provenienz: - Privatsammlung Nordrhein-Westfalen Literatur: - Mirus, Wolff: Otto Ritschl - Das Werkverzeichnis 1919-1976, München 2017, WVZ.-Nr. 1964/7 (hier mit abweichender Datierung). Erläuterungen zum Katalog Otto Ritschl Deutschland Expressionismus Konstruktivismus Abstraktion Nachkriegskunst Unikate 1960er Abstrakt Gemälde Öl RITSCHL, OTTO RITSCHL, OTTO 1885 Erfurt - 1976 Wiesbaden Title: Komposition. Date: 1963. Technique: Oil on canvas. Measurement: 99,5 x 80cm. Notation: Signed and dated lower left: Ritschl 63. Verso once more signed and inscribed: Ritschl, Komp. 63/48.This work is also listed in the cat.rais. Mirus under the number 1963/48 with the information „composition destroyed“. The work has been overpainted and can therefore be found under cat.rais.nr. 1964/7 with an illustration, but a different date.We thank Mr. Nikolas Werner Jacobs, Museumsverein Ritschl e.V., Wiesbaden, for this information and his kind scientific support. Provenance: - Private collection North Rhine-Westphalia Literature: - Mirus, Wolff: Otto Ritschl - Das Werkverzeichnis 1919-1976, Munich 2017, cat. rais. no. 1963/48 (here with a different date). Explanations to the Catalogue Otto Ritschl Germany Constructivism Abstraction Post-War Art Post War 1960s Abstract Painting Oil
RIZZI, JAMES RIZZI, JAMES New York 1950 - 2011 Titel: The King of New York. Datierung: 2007. Technik: Acryl auf Leinwand. Maße: 183 x 122cm. Bezeichnung: Signiert und datiert unten rechts: JAMES RIZZI 2007. Rahmen/Sockel: Rahmen. Provenienz: - Art28 GmbH, Stuttgart - Unternehmenssammlung Deutschland Der US-amerikanische Künstler James Rizzi gehört zu einem der populärsten zeitgenössischen Vertretern der Pop-Art. 1950 in Brooklyn geboren, studiert er bis 1974 Kunst an der University of Florida in Gainesville und hat bereits kurz nach Studienende die Chance, seine Arbeiten im New Yorker Brooklyn Museum, neben Werken von Andy Warhol und Roy Lichtenstein, der Öffentlichkeit zu präsentieren. Vorbilder für sein künstlerisches Schaffen findet Rizzi unter anderem in Dubuffet, Picasso und Hundertwasser, die seine frühen Werke prägen. Dialogisch entwickelt er seinen eigenen charakteristischen Stil immer weiter und erschafft ein Meer von farbenfrohen Bildern, die vor Lebensfreude nur so sprühen und durch seine detailreiche Formensprache bekannt sind. Seine Heimatstadt New York und deren Einwohner ist ein beliebtes Thema in Rizzis Gemälden, so auch bei dem von uns angebotenen, imposanten Gemälde "The King of New York" aus dem Jahr 2007. Wer diese Gemälde betrachtet, erkennt zum Beispiel Wolkenkratzer, Leuchtreklamen, Straßenschilder oder bekannte Gebäude und Straßenzüge. Vor allem aber sieht man eines: Menschen. Es geht Rizzi um die Darstellung des alltäglichen Lebens und das ist für ihn in erster Linie das Zusammenleben. Dabei betrachtet Rizzi seine Heimatstadt als vorbildliches Sozialmodell. Dass das Zusammenleben trotz unzähliger verschiedener Muttersprachen so gut funktioniert, liegt für ihn vor allem daran, dass eine Sprache allen gemein ist: das Lächeln. Vor einem Gemälde des Künstlers muss auch der Betrachter lächeln. Vor ihm tut sich eine Welt auf, die die Alltagsorgen vergessen lässt und stattdessen fröhlich, bunt und voller kleiner Schätze ist, die entdeckt werden wollen. Die Bilder sind meist von geradezu kindlich-naiver Einfachheit und in sehr bunten Farben gehalten und strahlen urbane Lebensfreude, Fröhlichkeit und Optimismus aus. Es ist Rizzis großes Verdienst, sich diese kindliche Ursprünglichkeit und unbändige Schaulust erhalten zu haben. Erläuterungen zum Katalog James Rizzi USA Pop Art Nachkriegskunst Unikate 2000er New York Gemälde Acryl Stadtleben RIZZI, JAMES RIZZI, JAMES New York 1950 - 2011 Title: The King of New York. Date: 2007. Technique: Acrylic on canvas. Measurement: 183 x 122cm. Notation: Signed and dated lower right: JAMES RIZZI 2007. Frame/Pedestal: Framed. Provenance: - Art28 GmbH, Stuttgart - Corporate collection Germany. Explanations to the Catalogue James Rizzi USA Pop Art Post-War Art Post War 2000s New York Painting Acrylic Urban life
ROSENBACH, ULRIKE ROSENBACH, ULRIKE 1943 Bad Salzdetfurth/Hildesheim Titel: Art is a criminal action (Elvis III). Datierung: 1969/2016. Technik: C-Print/Diasec. Maße: 150 x 185cm (152 x 187cm). Bezeichnung: Signiert, datiert und bezeichnet. Exemplar: ae/ed 5/6 Ulrike Rosenbach zählt zu den Pionierinnen der deutschen Video- und Performancekunst. Seit den späten 1960er und den frühen 1970er Jahren drückt sie ihre überwiegend feministischen Themen in diesen neuen Medien sowie in Fotografien aus. Diese noch jungen Ausdrucksmittel erscheinen Künstlerinnen als geeignet für Ihren Kampf gegen auferlegte Geschlechterrollen, da sie noch nicht jahrhundertelang kunsthistorisch als rein männlich geprägt "vorbelastet" sind, wie bspw. die Malerei. Rosenbach leistet in Ihrem Oeuvre einen wichtigen Beitrag zum feministischen kunsthistorischen Diskurs. In der hier vorgestellten Arbeit "Art is a criminal action (Elvis III)" bezieht sich die Künstlerin auf eine Ikone der Kunstgeschichte und gleichsam der Populärkultur: auf das Werk "Double Elvis" von Andy Warhol. Rosenbach zeigt in Ihrer Fotografie Elvis Presley analog zum Vorbild. Er wird hier jedoch nur einfach dargestellt, denn verdoppeltet wird sein weibliches Pendant. Ulrike Rosenbach montiert sich selbst rechts und links an die Flanken des Sängers mit gleichem Outfit, gleicher Haltung und ebenfalls mit Pistole. Blick und Pistole zeigen dabei auf den Betrachter. Während Warhol in seinem Werk somit dem voyeuristischen Blick des Betrachters standhält, gelingt dies Ulrike Rosenbach durch die Aneignung des Motivs in zweifacher Form: Nicht nur dem Betrachter per se bietet sie Paroli, sondern auch dem männlichen Blick auf den weiblichen Körper, welcher den Mann zum handelnden Subjekt und die Frau zum passiven Objekt macht, das betrachtet und begehrt wird. Selbstbewusst als agierendes Subjekt wirft sie diesen Blick zurück. Darüber hinaus thematisiert sie nicht nur die Rolle der Frau, sondern auch die der Künstlerinnen. Rosenbach reiht sich so gekonnt in eine männliche Kunstgeschichte ein und ebnet den Weg, diese auch für Künstlerinnen zu öffnen. Vor allem verwirklicht sie dies mit "Art is a criminal action (Elvis III)" auf eine höchst ästhetische sowie locker-ironische Art. Erläuterungen zum Katalog Ulrike Rosenbach Fotografie 1960er Berühmtheiten Fotografie C-Print Porträt ROSENBACH, ULRIKE ROSENBACH, ULRIKE 1943 Bad Salzdetfurth/Hildesheim Title: Art is a criminal action (Elvis III). Date: 1969/2016. Technique: C-Print/Diasec. Measurement: 150 x 185cm (152 x 187cm). Notation: Signed, dated and inscribed. Edition number: ae/ed 5/6 Explanations to the Catalogue Ulrike Rosenbach Photographs 1960s Celebrities Photography C-print Portrait
ROTAR, ROBERT (HOLGER SKIEBE) ROTAR, ROBERT (HOLGER SKIEBE) 1926 Berlin - 1999 Düsseldorf Titel: "Fliegkraftspirale (1967). Rotation No B17 mit blauem Kreis". Datierung: 1967. Technik: Öl auf Leinwand. Maße: 80 x 80cm. Bezeichnung: Signiert und datiert verso auf Leinwand: Robert Rotar 1967. Hier zudem betitelt. Nochmals signiert und bezeichnet auf dem Keilrahmen: R. Rotar B17/1967. Rahmen/Sockel: Rahmen. Die Arbeit ist im Archiv unter der Nummer G2611 verzeichnet. Wir danken Frau Dr. Ingrid Skiebe, Düsseldorf, für die freundliche Unterstützung. Provenienz: - Cosar HMT, Düsseldorf (lt. Einlieferer) - Privatsammlung Nordrhein-Westfalen. Erläuterungen zum Katalog Robert (Holger Skiebe) Rotar Deutschland Abstraktion Nachkriegskunst Unikate 1960er Abstrakt Gemälde Öl Bewegung ROTAR, ROBERT (HOLGER SKIEBE) ROTAR, ROBERT (HOLGER SKIEBE) 1926 Berlin - 1999 Düsseldorf Title: "Fliegkraftspirale (1967). Rotation No B17 mit blauem Kreis". Date: 1967. Technique: Oil on canvas. Measurement: 80 x 80cm. Notation: Signed and dated verso on canvas: Robert Rotar 1967. Here additionally titled. Once more signed and inscribed on the stretcher: R. Rotar B17/1967. Frame/Pedestal: Framed. The work is listed in the archive under the number G2611. We thank Dr. Ingrid Skiebe, Düsseldorf, for the kind support. Provenance: - Cosar HMT, Düsseldorf (according to consignor) - Private collection North Rhine-Westphalia. Explanations to the Catalogue Robert (Holger Skiebe) Rotar Germany Abstraction Post-War Art Post War 1960s Abstract Painting Oil Movement
ROTAR, ROBERT (HOLGER SKIEBE) ROTAR, ROBERT (HOLGER SKIEBE) 1926 Berlin - 1999 Düsseldorf Titel: "Rotation No 33". Datierung: 1969. Technik: Öl auf Leinwand. Maße: 80 x 80cm. Bezeichnung: Signiert und datiert verso: Robert Rotar 1969. Hier zudem betitelt. Rahmen/Sockel: Rahmen. Die Arbeit ist im Archiv unter der Nummer G2986 verzeichnet. Wir danken Frau Dr. Ingrid Skiebe, Düsseldorf, für die freundliche Unterstützung. Provenienz: - Cosar HMT, Düsseldorf (lt. Einlieferer) - Privatsammlung Nordrhein-Westfalen. Erläuterungen zum Katalog Robert (Holger Skiebe) Rotar Deutschland Abstraktion Nachkriegskunst Unikate 1960er Abstrakt Gemälde Öl Bewegung ROTAR, ROBERT (HOLGER SKIEBE) ROTAR, ROBERT (HOLGER SKIEBE) 1926 Berlin - 1999 Düsseldorf Title: "Rotation No 33". Date: 1969. Technique: Oil on canvas. Measurement: 80 x 80cm. Notation: Signed and dated verso: Robert Rotar 1969. Here additionally titled. Frame/Pedestal: Framed. The work is listed in the archive under the number G2986. We thank Dr. Ingrid Skiebe, Düsseldorf, for the kind support. Provenance: - Cosar HMT, Düsseldorf (according to consignor) - Private collection North Rhine-Westphalia. Explanations to the Catalogue Robert (Holger Skiebe) Rotar Germany Abstraction Post-War Art Post War 1960s Abstract Painting Oil Movement
Loading...-
19747 item(s)/page