* MATÉO MORNAR (FRENCH, 1946-), BRONZE FIGURAL SCULPTURE EARLY 21ST CENTURY titled JUEX COQUINS, signed MORNAR, numbered 1/8, dated 2001 and with foundry stampNote: 'Born in Croatia in 1946, Matéo Mornar emigrated to France with his family at the age of ten. They settled in Paris. The young boy liked to spend time in the Louvre, especially in the sections dedicated to sculpture. At 18 he entered the École supérieure des arts modernes (ESAM Paris) school of modern art, where he studied design, graphic design, interior decoration and sculpture techniques. He graduated amongst the top of his class and joined a branch of the Publicis group. He worked for 3 years dedicated to developing scale model which are displayed at trade fair and the moved on to work as a freelancer. For many years, he worked in the area of publishing, graphic creation and interior decoration. An assignment took him to the French Riviera in 1977 where he decided to settle.At the end of the eighties, he envisioned and conceptualized his first sculptures after a meeting with the artist Antoniucci Volti at Villefranche-sur-Mer.In 1995, Mornar decided to devote himself entirely to sculpture and began to exhibit in the French Riviera (Cannes, Nice, Monaco...) his early works of bronze women.In 1997, he opened a school of sculpture in Nice wishing to introduce to people the difficult art of sculpture and to inspire them.'34cm high, 7.2kg
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A HARLEQUIN SET OF EIGHT GRADUATED COPPER JAM PANSEach with raised twin handles56cm wide overall and smallerCondition Report: These are described as harlequin as there at least two maker's marks - two are A & N CSL and one is SAS, some variation to the handle designs where they attach to the bodiesAll polished appearance overallSome marks and dentsDreweatts do no guarantee these as usable in a modern Kitchen, they are sold as a decorative work of art lot only for display.All handles appear securely attachedPlease see additional images for visual reference to conditionOne marked '14' to the handle, another '17'Condition Report Disclaimer
Joseph Beuys, La Rivoluzione siamo noiLichtpause auf Papier 185,5 x 106,5 cm. Signiert, betitelt und gestempelt "Hauptstrom". Plakat ohne Schrift zur Joseph Beuys Ausstellungseröffnung in der Modern Art Agency, Neapel, am 13. November 1971. Edition Modern Art Agency, Neapel und Edition Tangente, Heidelberg. - Mit leichten Altersspuren.vgl. Jörg Schellmann (Hg.), Joseph Beuys, Die Multiples, München 1992, WVZ-Nr.49ProvenienzPrivatsammlung, Rheinland-Pfalz
Φ Henri Matisse (French 1869-1954)Nu Bleu sur Fond JauneColour lithograph, created and editioned at Mourlot Studio, Paris, 1954, issued by Téiade for Verve, Paris, 195826 x 23.8cm (image)Provenance:William Weston Gallery, London;Where purchased by Dr Peter Mangold, May, 2014;His posthumous sale, Woolley and Wallis, Salisbury, Modern British & 20th Century Art, 29 November 2017, lot 108, where purchased by the present private collector
Victor Yefimenko (Ukrainian b.1952)A Sunny MorningSigned in Cyrillic (lower right), and further signed and inscribed in Cyrillic (to reverse)Oil on canvas81.5 x 65.8cmProvenance:Woolley and Wallis, Salisbury, Modern British & 20th Century Art, 11 December 2019, lot 272, where purchased by the present private collector
A vintage Ethiopian tribal folk art painting depicting "Soldiers and Chieftain type figures en masse with pan African flags", inscribed variously throughout, 88.5 cm x 194 cm, together with a set of six modern gilt framed photographic portraits of Halcro Chairmen, including frames, each 85 cm x 69.5 cm, a print of "Pandas" and a marquetry inlaid picture depicting "Middle Eastern scene" (9)
Sam A Lewisohn Painters and Personality - A Collector's View of Modern Art. Published by Harper and Brothers. Inscribed on front free end paper by the author. Excellent condition, blue boards, titled in white 2nd edition 1937. From single vendor Book and Magazine collection. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
An Edwardian inlaid mahogany mantel clock, the enamelled dial set with Arabic numerals, an Art Nouveau inlaid mahogany mantel clock, the dial set with Roman numerals, an Art Deco oak wall-hanging barometer, length 27cm, a modern banjo barometer with personalised presentation plaque and an inlaid small tea caddy (5).Condition Report: Please note that this lot is not suitable for our in-house postage service.We would recommend booking a collection slot for this lot or contacting Mailboxes Etc for postage of this lot, their details can be found on www.adampartridge.co.uk/services/postage-shipping/
Two boxes of assorted items to include: wooden turned candlesticks, Thai or Indonesian carved wooden figure, African carved wooden totem pole, a modern clay sculpture of two gentlemen in sunglasses on a wooden plinth, Japanese 'Moppets' figure group, various figures of children; some Capodimonte Giuseppi Armani figures, two figures of owls, a classical style figure of a semi-nude lady, two Italian faux ivory sculptures by A.Santini of Roman chariot racing, two German beer steins, Art pottery hedgehog tankard, Crown Ducal basket, Gaudy Welsh jug and mugs, Dee Cee stoneware basket, chicken shape egg crock, ceramic koala, Royal Doulton cockerel teapot, Shelley china crested ware cup, faux fruit, bell etc. (2)(B.P. 21% + VAT)
Albert Birkle, MerlinTempera auf leinenstrukturiertem Karton. 91 x 60,5 cm. Unter Glas gerahmt. - Auf Holz kaschiert. - In guter, farbfrischer Erhaltung. Wenige Retuschen.Wir danken Roswita und Viktor Pontzen, Archiv und Werkbetreuung Albert Birkle, Salzburg, für die wissenschaftliche Beratung. Die Arbeit ist im internen Werkkatalog unter der Nummer 101 verzeichnet.ProvenienzPrivatbesitz Berlin, 1920er Jahre; Galerie Ambiente, Freiburg, 1995; Galerie Dr. Sternat, Wien, 1996/97; Galerie Weilinger, Salzburg, 1999; Privatsammlung Österreich, bis 2008; im Kinsky, Wien, Auktion 70, 14. Oktober 2008, Lot 379; PrivatsammlungAusstellungenBerlin 1922 (Verein Berliner Künstler im Berliner Künstlerhaus in der Bellevuestraße), Frühjahrsausstellung 1922; London 2019 (Tate Modern), Magic Realism. Art in Weimar Germany 1919-33, mit Abb. S. 86 ("Der Eremit")LiteraturVgl. Silvia Kraker, Albert Birkle, Phil.Diss., Innsbruck 1992, Kat. Nr. 722 (Kohlezeichnung mit demselben Motiv und denselben Maßen, betitelt "Merlin II")In den frühen 1920er Jahren schuf Albert Birkle mehrere Kreuzigungsszenen, die in einer übersteigerten, surrealen Darstellungsweise das Grauen schlechthin verbildlichen. Überlängte, ausgemergelte Körper, fratzenhafte Gesichter und ein grelles Kolorit lassen in diesen biblischen Szenen das Vorbild des Isenheimer Altars von Matthias Grünewald überdeutlich werden. Einer ähnlich manieristischen Bildsprache bediente sich Birkle in der vorliegenden mysteriösen Szenerie. Merlin als alter Mann ist nackt und kniend inmitten eines dichten Waldes dargestellt, der von einem schnell dahinströmenden Bachlauf durchschnitten wird, ein Hirsch legt sein Haupt zutraulich in seinen Schoß. Trotz der farblichen und formalen Verwandtschaft zu den Kreuzigungen fehlt hier jedoch der morbide, gequälte Effekt, vielmehr prägen eine gewisse Harmonie und Ruhe die Szene. Der Mann und die ihn umgebende Natur formen eine Einheit, die überlangen, mageren Gliedmaßen von Mensch und Tier korrespondieren mit dem knorrigen Geäst. Ein magisches, fahl-grünes Licht, das von dem Bachlauf auszugehen scheint, erleuchtet den Wald, die daraus resultierende, unterkühlte gelbgrüne und graublaue Farbigkeit wird von vereinzelten rotbraunen Flächen abgemildert und gleichsam erwärmt. Albert Birkle zeigt in diesem frühen Werk nicht nur seine Affinität zu rätselhaft-surrealen Sujets, sondern auch seine außerordentliche Ausdruckskraft und Intensität, die sein gesamtes weiteres Oeuvre prägt.
Sawlaram Laxman Haldankar (Indian, 1882-1969)Untitled (Landscape from Panhala Fort,Kolhapur) signed 'S.L.H' lower right; further inscribed Panhala Fort/ 22.5 x 17.4 cms/ SH1/ l5184.B, 839 A BW, 920 A indecipherable, 823A stone, Plain 8/ 55 (on the reverse)watercolour on paper18 x 23.4cm (7 1/16 x 9 3/16in).Footnotes:ProvenanceProperty from a private collection, Sri Lanka. Acquired by LTP Manjushri from the artist in India;Acquired from the above;Thence by decent to the present owner.Born in Maharashtra, India, in 1882, Haldankar began his art education at the J. J. School of Art in Mumbai, where he studied under notable Indian artists like John Lockwood Kipling and and Cecil Burns.After completing his studies, Haldankar went on to work as a professional artist. Celebrated for their realism and attention to detail, his works often depicted women in traditional Indian attire, and he became famous for his ability to capture the grace, beauty, and inner strength of his subjects. The present lot is a fine example of his landscapes, specifically that from Panhala Fort, Kolhapur and is beautifully rendered in watercolour with splashes of wash to add depth to the background and the clouds. The fort itself is an important historical site. A hill fortress, it was built during the medieval period and is known for its impressive fortifications, stunning views, and rich history. It played an important role in the history of Maharashtra, as it was the site of several significant battles and events. To see a similar work sold at auction see Sotheby's, Modern & Contemporary South Asian Art, London, 25th October 2022, lot 57.For further information on this lot please visit Bonhams.com
Sadequain (Pakistani, 1930-1987)Untitled (Two Figures) signed and dated 'Sadequain 6/3/1962' upper rightpen, ink marker and wash on paper75 x 55cm (29 1/2 x 21 5/8in).Footnotes:ProvenanceProperty from a private collection, Germany.Acquired from the Francois Forges Gallery in Paris;Thence by descent to the present owner.'Sadequain's great contribution to modern art in Pakistan was that he amplified it with the living cultural resources of his broad and deep tradition in his own style and according to his conscience as no other artist could do.' Akbar Naqvi, Image and Identity: Fifty years of painting and sculpture in Pakistan, Pakistan, 1998, p. 403.After winning the Pakistan National prize for painting in 1960, Sadequain was invited by the French Committee of the International Association of Plastic Arts to visit Paris. Already a celebrated artist in Pakistan, the next few years in Paris catapulted Sadequain onto the international stage. In 1961 he was awarded the 'Laureate Bienniale de Paris' at the Paris Biennale and the scholarship prize enabled him to remain in Paris. The two lots offered in this auction were painted in Paris in 1962, the year he received the President's Pride of Performance award and illustrate the distinguished Calligraphic Cubist style that Sadequain invented. Influenced by the sculptures of Picasso and the Spanish arabesque of González, these heavily stylized, statuesque and monumental figures are depicted in broad sweeping lines, bearing the influence of the École de Paris. Responsible for the resurrection of Islamic calligraphy, he transformed the art of calligraphy into these eye-catching expressionist paintings. He married this with the scratched surface, which gives these works volume and amplifies their flatness. Resembling a cobweb, there is an intricacy and detail to these works which defies their appearance of simplicity. To see a similar work sold in these rooms dating from 1962 see Bonhams, Islamic & Indian Art, London, 8th April 2014, lot 375.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Zubeida Agha (Pakistani, 1922-1997)Female Composition signed 'Z. Agha Dec '45' lower right; further inscribed 'Female Composition'/ 1945 / Ms Hameeda Khan on the reverse oil on canvas, framed65.4 x 80.2cm (25 3/4 x 31 9/16in).Footnotes:ProvenanceProperty from a private collection, Pakistan. Acquired from the artist.The Collection of Imran R. Sheikh; family of the artist.PublishedMusarrat Hasan, Zubeida Agha: A Pioneer of Modern Art in Pakistan, 2004, p.31, Illustration. 8.There is a label on the reverse with the title of the picture, competition number, medium, price and name and address of the artist. 2022 marked Zubeida Agha's birth centenary and it is fitting that the grand dame of Pakistani Art was the first artist in 1949 to hold a solo exhibition of modern art in newly formed Pakistan. Born in Faisalabad in 1922, she obtained her degrees in philosophy and political science at Kinnaird College, Lahore after which she pursued art at the Lahore School of Fine Art. Here, she was introduced to Western art, specifically that of Pablo Picasso, which would have a profound effect on her works. Composition, painted in 1945, the year Pakistan was born, is one of her early works and is a fine example of the amalgamation of experiences and ideas that influenced her. She married abstraction with rich colours and focussed on painting the conceptual, to evoke the viewers emotions. Composition has not entirely given way to abstraction and elements of figuration are visible on closer inspection. There appear to be eight females, all wearing hijabs who are inexplicably intertwined in a dance of sorts. They are conversing with each other, in two groups perhaps and completely engrossed in their respective conversations. There is a rhythm to the composition, and the complementary colours capture the mood of her subjects. Structurally, the work illustrates Agha's ability to respect and enhance the two-dimensionality of the canvas and despite the absence of depth, the tonal gradations and sophisticated brush strokes imply a continuity to the group of women, beyond the limits of the canvas. To see a similar work sold at Sotheby's dating from 1946, see Modern & Contemporary South Asian Art, New York, 20th March 2023, lot 67.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Badri Narayan (Indian, 1929-2013)Untitled (Couple) initial 'B' in Devanagari lower rightmixed media on paper, framed29.1 x 29.1cm (11 7/16 x 11 7/16in).Footnotes:ProvenanceProperty from a private collection, UK; Acquired in the late 1970s from the artist.There is a Chemould label on the reverse.One of the recurring themes in his works is the depiction of couples as seen in the present lot. He often portrays couples as a symbol of love and companionship. There is tenderness and affection evident in this work, denoted by the physical closeness of the couples' face to each other. The man is looking directly at the woman, and the sombre colours used to paint them accentuate the feeling that one is being able to enter a private moment. The absence of negative space and the small scale of the work further amplify this moment of intimacy. For a similar work sold at Sotheby's see Modern & Contemporary South Asian Art, 25th October 2022, lot. 41.For further information on this lot please visit Bonhams.com
Sudhir Patwardhan (Indian, B.1949)Untitled (Two Men) oil on canvas, framed71.3 x 52.4cm (28 1/16 x 20 5/8in).Footnotes:ProvenanceProperty from a private collection, UKAcquired from the artist;Thence by descentSudhir Patwardhan was born in Pune, India, in 1949. He studied medicine at the Armed Forces Medical College in Pune and worked as a radiologist for several years before pursuing art full-time. Patwardhan's interest in art began in childhood when he was fascinated by drawing and painting. He continued to pursue art as a hobby throughout his medical studies and early career as a radiologist. In the 1970s, he began attending art classes and workshops in Mumbai and soon decided to pursue art professionally. In 1975, he held his first solo exhibition in Mumbai, which received critical acclaim and established him as a significant new talent in the Indian art world. Since then, he has exhibited widely in India and internationally, and his work is held in several public and private collections.Patwardhan's artistic style is influenced by a range of artistic traditions, including Indian miniature painting, Western figurative art, and modernism. His work often explores the complexities of contemporary urban life in India, particularly the experiences of ordinary people in Mumbai. He is known for his realistic and detailed paintings, which often depict urban landscapes, figures, and everyday objects with great sensitivity and depth. His work often depicts the complexities and contradictions of modern urban life, and the struggles faced by individuals within this context.In the present lot, he has painted one of most frequently depicted subjects, the male. The man on the right has his arm reassuringly resting on the shoulder of the man on the left. The facial expressions of both men are unclear, and open to interpretation, although they appear stoic. The composition and story, if any, that the painter wishes to relay is unclear, however this is likely deliberate. Patwardhan's depictions of men often reflect his interest in the social and economic inequalities that exist in contemporary Indian society, particularly with regards to class and gender. Whilst his paintings do not specifically focus on the representation of gay men, his work does sometimes address issues related to sexuality and sexual identity.Through his paintings, Patwardhan seeks to draw attention to the challenges and complexities of contemporary Indian society, and to encourage his viewers to engage with the human stories that lie behind the headlines and statistics. By focusing on the experiences of men, he captures the psychological and emotional states of his subjects. Patwardhan offers a unique perspective on the realities of life in India, and invites us to reflect on the social, cultural, and political factors that shape our lives.For further information on this lot please visit Bonhams.com
Ahmed Parvez (Pakistani, 1926-1979)Untitled signed and dated 'Parvez 78' lower leftoil, chalk and crayon on paper, framed54.8 x 35.5cm (21 9/16 x 14in).Footnotes:ProvenanceProperty from a private collection, Singapore.Acquired from the artist;Thence by descent to the present owner.To see a similar work sold in these rooms dating from 1979 see Bonhams, Modern and Contemporary South Asian Art, 24th May 2022, London, lot 34.For further information on this lot please visit Bonhams.com
Jagdish Swaminathan (Indian, 1928-1994)Untitled signed and dated in Devanagiri and English 'J Swaminathan 92' versooil on canvas, framed81.1 x 116.1cm (31 15/16 x 45 11/16in).Footnotes:Property from the Estate of Chresten PetersenProvenanceAcquired by Mr Pedersen, a Danish diplomat in India in the 1990s.Madhya Pradesh also brought about a basic shift in my painting again. The live and vibrant contact with tribal cultures triggered off my natural bent for the primeval, and I started on a new phase recalling my work of the early sixties. If my work of the early sixties anticipated the journey of the eighties, my present phase recapitulates my beginnings.- Jagdish Swaminathan, 1993Swaminathan oscillates between lucidity that captures the most abstract ideas into jewel-like analogies and dark obscurity, where the ideas that swarm fail to emerge to the surface in words or in images. (G. Kapur, Reaching Out to the Past, Lalit Kala Contemporary 40, March 1995, p. 17)'Swaminathan's aesthetic, which held that folk art, tribal art, and urban art are all equally valid versions of the contemporary, might appropriately be termed a 'post-colonial aesthetic'' (V. Dehejia, Text Decoded, Beyond the Legacy, Washington, 1998, p. 202).In the late 1980s, Jagdish Swaminathan's paintings underwent a dramatic stylistic and technical shift. In these later works, texture plays an important role in the creation of the overall image, and it is arrived at through the skilful combination of staining and the interplay of horizontal and vertical bands. Moreover, 'the surface of the canvas ceases to be a two-dimensional support system upon which is represented a world, whether abstract or figurative. The surface becomes an arena within which to act and from which the creative ace and material world arise.' (K.B. Goel, The Other, J. Swaminathan, Vadehra Art Gallery, Exhibition Catalogue, New Delhi, 1993.)From the beginning of his artistic career, Jagdish Swaminathan has concerned himself with the exploration of the tribal in modern art. His works draw 'upon the collective assemblage of myths and symbols in folk, and other subterranean passages of culture that attempted to reach the unknown in a kind of blind intuitiveness.' (G. Kapur, Reaching Out to the Past, Lalit Kala Contemporary 40, New Delhi, March 1995, p. 17.)Swaminathan was more than an artist. Along with being a founding member of the artist collective Group 1890, he was also known for his membership of the Communist Party of India, for his journal Contra, albeit short lived, for starting a movement to reform the Lalit Kala Akademi in the 1970s and for establishing an interdisciplinary arts centre in Bhopal in the 1980s, called Bharat Bhavan. He lived outside the cultural influence of the Progressive Artists' Group, rejected academism and the teachings of the Bengal School, which allowed for a flourishing of ideas that was rooted in the mystical, spiritual, and primal. His art was an amalgamation of these ideas, and this distinct outlook kept him at the forefront of the development of a unique idiom of modern Indian art. His counter-cultural approach is evident in his works that can be grouped under distinct phases. The present work, dating from 1993 is from the last phase of his oeuvre, yet not only pays homage to the works that preceded it but also succeeds in creating a distinct visual language. We can see the influences of symbolism and surrealism despite the innate simplicity and natural order that govern the canvas. The dominant colours are the earthy browns and blacks, punctuated with smatterings of whites. Squares, circles, rectangles, diamonds, and triangles are the geometric motifs that compete and complement each other and are reminiscent of his iconic Bird, Mountain, and Tree series from the 1960s. What makes them unique in this painting however is their greater symbolic significance. The triangle for example, is the mountain, Kailash and symbolises the abode of Shiva, the Hindu God. These additional layers are almost totemic, and 'capable of exercising its magical eternal influence on those who come within its field of vision.' (J. Swaminathan, 'The Cube and the Rectangle', op. c Lalit Kala Contemporary 40, March 1995, p. 23)This is a vocabulary unique to Swaminathan, and the symbols that he deployed can be read as 'non descriptive, partially associated images' that may not be recognisable, but when seen as a whole, they take on a new and collective meaning. 'Whatever specific context they may belong to, he uses images and icons of the past, that in a similar attempt at identification become evocative and remain so even at this point in time. Through the transformed context and relationships in his painting, they become one with traditional and contemporary, because they are born of a motivation that bridges the two in a continuum.' (G. Kapur, ibid, p. 17.)To see a similar work sold at auction see Christies, South Asian Modern & Contemporary Art including works from the collection of Mahinder and Sharad Tak, New York, 23rd March 2022, lot 623.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Jamini Roy (Indian, 1887-1972)Untitled (Gopini) signed in Bengali lower righttempera on canvas, framed84.10 x 43cm (33 1/8 x 16 15/16in).Footnotes:ProvenanceProperty from a private collection, Singapore.Acquired from the artist in the late 1950s in Calcutta;Thence by descent to the present owner.Of all the changes that followed World War II in South Asia, perhaps, the most important was in the disruption of the colonial powers. Dominated countries began to regain their identity and fight for independence. India did not remain untouched by this anti-colonial sentiment. These are the circumstances in which the painter Jamini Roy (1887-1974) lived and produced art. This, albeit brief, contextualisation is fundamental to understand and fully appreciate the works of this artist. Born during the zenith of colonialism in South Asia, Roy came from a land-owner Kayastha family. His first encounter with art happened within this middle-class, art-loving household. Encouraged by his parents, in 1908 Roy obtained a diploma from the Government College of Art. Here he studied the academic style of the West. However, like many of his peers, Roy began his revolt against westernisers and orientalists. Rejecting European modernism seemed to be the perfect means to express the frustration of an entire country, support nationalism and anti-colonialism, and feed the desire to find an authentic Indian identity depleted of western misconceptions, which meant looking to rural India.Jamini Roy's artistic production falls within this search for authenticity, which he found in rural Bengali, where he observed folk art, admiring its formal simplicity and clarity. Roy began to experiment with the elimination of the detailed elements, and instead added rough lines, reducing his colour palette to primary and basic colours. Roy succeeded in reinterpreting traditional Indian iconography in a modern and crisp style. In 1931, he exhibited his works in Calcutta. Apart from the incredible works he displayed alongside original Bengali folk art, the most revolutionary element of the show was the curatorial choices. Roy decided to transform the exhibition into a Bengali living space. His works, his philosophy and the curatorial choices represented the cornerstone of Indian modernism. Indian rural reality against colonial cities, a collective against the individual, a nation against the occupier. Art was a political act and needed to be a collaborative effort. The ideological strength behind Roy's paintings contributed to his worldwide popularity. His works were acquired by Peggy Guggenheim, and can now be found in major modern and contemporary art collections globally. The painting offered here is an exquisite example of Roy's style. From a formal perspective, Unitled (Gopini) represents a female dancer standing and wearing traditional clothes from the Bengali region. Her features are clear and simple and remind the viewer of traditional Indian sculptures. Rough and thick darker lines define the outline of the figure. The colours palette is limited to white and different shades of brown and red. The earthly tones and nuances unconsciously draw a connection to the land. The subject matter also stems from tradition. The figure represents Gopis, the legendary milk maids that are enamoured of Krishna, a subject that was typical of miniature paintings from the 17th to 19th century. As we can see from this fantastic example, Roy's pieces are populated by traditional subject matters characterised by a harmonious combination of both modernism and indigenous formal qualities.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
George Keyt (Sri Lankan, 1901-1993)Girl and Cactus signed 'G Keyt 62' upper right and title versooil on board, framed81 x 39.5cm (31 7/8 x 15 9/16in).Footnotes:ProvenanceProperty from a private collection, Ireland.Acquired from Adams, Contemporary Paintings and Prints, 7th April 2009, lot 31.When it comes to George Keyt most art historians highlight the impact and influence of Western modern art on his artistic production. This focus might stem from the fact that Keyt's childhood was deeply rooted in the British Empire and those of other European colonial countries. Born in 1901, he was a Burgher of Eurasian descent. The social environment in which he grew up and the education he received can be described as pro-western and supportive of British imperialism. This Eurocentric upbringing drew Keyt's attention to the other side of his origins, those of the country and the culture in which he lived. Keyt studied Buddhism, Hindu myths and developed a keen interest in Indian culture. This apparent idiosyncrasy epitomises the foundation of Keyt's genius. The juxtaposition of ancient traditions and modern forms and styles is what places this artist on the centre stage of the Sri Lankan and South Asian art scene. The formal influence of Wester art comes from different medium, including painting, sculpture, and photography. He worked for a firm of photographers, where he met Lionel Wendt (1900-1944), who encouraged the artist to enter the art world. In 1927 aged 26, Keyt began his artistic education. Soon he deviated from Western Victorian and Edwardian traditions, in favour of more modern styles. His early works are often associated with Gauguin, due their pastoral subjects and the style adopted. However, Gauguin is not the only European artist Keyt is compared to. In 1930 Keyt's works were exhibited in London alongside Pablo Picasso (1881-1973) and George Braques (1882-1963). Cubism, Fauvism, and Post-Impressionism's formal qualities represent a pivotal source of inspiration in the everchanging and progressing style of the artist. In 1943, Keyt, Wendt and other artists founded the '43 Group'. The aim of this collective was to depict Sri Lankan subject matters in radical ways, and they pursued a freedom of expression inspired by European modernism. The group exhibited at the 1955 Venice Biennale where their works were recognised as one of the most radical examples of modern Asian Art. Despite his clear interest in western art principles, Keyt's subjects are largely rooted in local tradition, depicting vernacular buildings and scenery, villagers, dancers, tradesmen, and Gods often drawn from Hindu and Buddhist mythology. In Keyt's paintings, European art forms, Hindu iconography, Buddhism and Indian literature are so skilfully integrated that they cannot be acknowledged separately. Girl and Cactus comprises Keyt's typical themes of folklore and representation of the female body in the manner of European Expressionism. The paint is dense and flat, and yet the rhythmic lines and the rounded shapes create the illusion of movement. We can imagine the central figure removing and repositioning the yellow scarf over her head. The spotlight is on her. Keyt makes her the protagonist of the painting with a clever use of oppositions. The harsh lines of the plant contrast with the softness of the woman's naked body, highlighting her grace, innate elegance, and beauty. The bright colour of the scarf envelopes the figure in a delicate embrace that glorifies her shape and brings her figure out of the darker background. The intense pigments of the surrounding place this painting in an expressionist setting, although the colours used to depict the woman appear more realistic, akin to post-impressionistic works. This painting is another fantastic example of Keyt's skilful merging of European 20th century styles with local scenes and imagery.Lot to be sold without reserve.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Krishen Khanna (Indian, b. 1925)Untitled (Patricia) signed 'K.Khanna 13/6/1954' lower left oil on canvas, framed56 x 33cm (22 1/16 x 13in).Footnotes:ProvenanceProperty from a private collection, England. Painted by the artist for the vendor's mother;Thence by descent.'I am talking about the painting I did of Patricia Atkinson which dates back from the days we were both with Keith, her husband, and I were working in Grindlay's Bank and we were in Madras at the time. I was transferred there to relieve Keith, and his duties in the bank, which was Grindlay's, and this painting came about because he said why don't you paint, I said maybe, I'll paint Patricia, so I did with whatever I had at hand and so forth and it turned out to be a very good painting actually. BBC showed this picture at one of their soiree's and that was it. Well, I hope this painting goes to a house which will like it.' Krishen Khanna, February 2023An artist in residence: Krishen KhannaKeith Atkinson (our father) worked for Grindlays Bank in India which is where he met Krishen, in the 1950s, in Madras (Chennai). Krishen needed temporary lodgings and as Patricia and Keith had a spare bedroom, they offered it to Krishen. The offer came with a gentle warning, the presence of two small boys (my brothers: John 2yrs ish; Aidan 0yrs). Would that be acceptable? It was, and Krishen came to stay. An artist in residence proved to be very exciting; Patricia, Keith and friends would visit Krishen when he was painting. As his favoured spot was the bathroom, because it had the best light, there would, on occasion, be an enthusiastic audience perched on the side of the bath observing his progress. One can only wonder that this attention must have been a mixed blessing for an artist exploring his burgeoning talent and style. Patricia's portrait is well travelled within India, East Pakistan, Bangladesh and finally to Ashover in Derbyshire. For over 60 years the painting has been an integral part of our lives; enjoyed and admired by family and friends alike. Jane Graham nee Atkinson, John Atkinson and Aidan AtkinsonPainted in 1954, this portrait of Patricia Atkinson was featured on the BBC series, the Antiques Road Show on 2nd October 2016, and it instantly captured the attention of the viewers. It is an early painting from Khanna's oeuvre, yet could be mistaken to be a painting by a European artist from the 1930s owing to the style and subject portrayed; Amrita Shergil's portrait titled 'Self portrait at the easel,' for example immediately comes to mind. Regardless, it is a deeply personal painting for both Khanna and the Atkinson family as evidenced from their recollection above. Painted in a thick impasto style, its genius lies in both its subject and use of colours, for it foreshadows the works that Khanna will come to be known for, the bandwalas. Khanna is foremost a figurative painter, and he seeks to capture moments in history, much like photographs. Patricia's portrait is photographic but transcends the photo-realist technique. She is seated, but her gaze is turned away from the viewer. Her expression is unreadable, and yet the muted colours used here, the blues, blacks, maroons, yellows and whites give the painting a soothing quality. Despite this soothing quality, we can detect elements of spontaneity. The background for example, is a mesh of various shades of reds, maroons and oranges, and is laced with black. Khanna appears to have enjoyed the process of creating this work, whilst experimenting to find his own style. Figurative painting was the norm for much of art history, and therefore elevating the repetitious, through the expressionistic brush stroke, and economical use of colours is what makes this painting a tour de force. To see another figurative work sold in these rooms dating from the late 1950s, see Bonhams, Modern & Contemporary South Asian Art, 11th June 2015, London, lot 21.Bonhams extends their gratitude to Krishen Khanna for his assistance in cataloguing this lot.For further information on this lot please visit Bonhams.com
Jamini Roy (Indian, 1887-1972)Untitled (Four Santhal Drummers) signed in Bengali lower rightgouache on paper on card42.8 x 54.3cm (16 7/8 x 21 3/8in).Footnotes:ProvenanceProperty from a private collection, Sri Lanka.Acquired by LTP Manjushri from the artist in India;Acquired from the above;Thence by descent to the present owner.Santhal Drummers is a fantastic example of Roy's unique style, wherein he combined traditional Indian folk art with modern painting techniques. He was particularly fascinated by the art and culture of the Santhal tribe, one of the largest indigenous communities in India, and likely painted this work as a tribute to their culture.Santhal Drummers is one of Jamini Roy's most famous paintings, and in the present lot it depicts four Santhal men playing traditional drums. Roy was drawn to the Santhal culture and their art, which he saw as pure and unadulterated by the influence of modern civilization. In his paintings of Santhal life, he sought to capture the simplicity, purity, and vibrancy of their culture.Roy was also interested in exploring the formal aspects of art, such as colour, line, and form, which he has captured well in the present lot. The bold, simple lines and bright colours used in the painting are characteristic of his unique style, which was influenced by traditional Indian folk art.To see a similar work sold in these rooms see Bonhams, Modern and Contemporary Middle Eastern and South Asian Art, London, 2nd June 2010, lot 8.For further information on this lot please visit Bonhams.com
Collection of Teddy Bear related books, magazines, catalogues, modern tinplate signs, etc: Teddy bears of Witney catalogues x 2- 2007 and 2018. Christie's South Kensington auction catalogues x thirteen July 1005, May 1999, Dec 2000, Dec 2001, June 2002, Dec 2002, June 2003, June 2004, Dec 2004, July 2005, Dec 2005, July 2006 and July 2007. Pair of modern tinplate Teddy Tum Tum decorative signs. Teddy Dorado auction catalogues- October 2010, October 2011, April 2012, October 2013. Selection of posters- R John Wright Winnie the Pooh Collection, R John Wright The Art of Toys x 2 (one is signed); Teddy Bears of Witney Alphonzo x two; plus Dean's, Merrythought, etc. Steiff 1970s catalogue- Ein Tier von Steiff. Fur immer Dein. Collection of Teddy Bears hardback book by Pam Hebbs. The Old Max Hermann Sonneberg and Hermann Coburg Teddy Bears Meilensteine of a Company spanning over 88 years History Coburg 2008 hardback book by Ulla Hermann and Martin Hermann. The Art of Making Teddy Bears by Jennifer Laing. Fair Plus to Mint; (qty).
Charles Higgins ('PIC'), Scottish 1893-1980 - Woman with umbrella and bird; gouache and decalcomania on paper, signed lower right 'PIC', 21.7 x 18.3 cm: together with 2 other works on paper by the same artist, 'Porcupine, 1961', 9.3 x 14.5 cm and 'I Have Been King, 1967', 11.6 x 18.7 cm (mounted/unframed) (3) (ARR) Provenance:the Estate of the Artist Note:writer and painter Charles Higgins painted under the pseudonym of PIC and created some of the most extraordinary and enigmatic British paintings of the 20th century. Setting mythological and fantastical imagery within imagined landscapes, PIC's work transports the viewing through time and the imagination, demonstrating the same visionary zeal as figures such as Marc Chagall, Cecil Collins and Leonora Carrington. His work was exhibited in some of the most important British galleries of the 20th century, including the Wertheim Gallery during the 1930s, Gimpel Fils during the 1940s and 50s and Jack Bilbo's celebrated The Modern Art Gallery in the 1940s.
Frederick Stratton, British 1870-1960 - A mythological scene; oil on canvas, signed lower left 'F Stratton', with partial artist's label and address on the reverse, 102 x 127 cm (ARR) Provenance: Bonhams, London, Modern British and Continental Pictures, 11th November 1997, lot 118 (unsold); private collection Note:Stratton exhibited at Arthur Tooth & Sons Gallery, Grosvenor Gallery, Walker Art Gallery, Liverpool, and the Royal Academy, London.
Ansel Krut,South African b.1959 - Social Butterfly, 2009;oil on canvas, signed, titled and dated on the reverse 'A Krut Social Butterfly 2009', 61 x 51 cm (ARR) Provenance: Stuart Shave / Modern Art, London, MA-KRUTA-00031 (according to the copy of the original invoice); private collection, purchased from the above on the 11th December 2009 Note: The present work displays the artist continuing to explore the language and meaning of paint. Works by the artist are in public collections in the UK including the Yale Centre for British Art and the British Council Collection. Recent solo exhibitions have included 'Verbatim' at the Jerwood Gallery, Hastings in 2014.
Heinrich Zille, German 1858-1929 - Zwei Herren im Cafe, 1903; red chalk and charcoal on paper, signed lower right 'H Zille', 26.5 x 45.6 cm Provenance: Sotheby's, London, Impressionist & Modern Art Auction at Olympia, 11th July 2006, lot 73; private collection, purchased at the above sale Note: Zille was known for his brilliant caricatures of the people of Berlin, mainly published in the satirical newspaper 'Simplicissimus'. 1903, when the present work was made, was an important year for Zille, as he was elected by Max Liebermann to exhibit with the Berlin Secession. There is now a museum dedicated to Zille's work in Berlin.
Alfred Wolmark, Polish/British 1877-1961 - Flowers in a vase with a bowl, 1943; oil on canvas board, signed and dated on the reverse 'Alfred A Wolmark 1943', 40.3 x 30.3 cm (ARR) Provenance: Rena Behrman and thence by descent Note: Rena Behrman (1909-2017) helped to aid the escape of more than 1000 Jewish refugees from Europe to Britain during the Second World War. Items from her collection were donated to the British Museum. Wolmark was famed for his bold colour palette, influenced by French Modernism, and in an early exhibition in the 1910s at the International Society of Artists, his work was placed beside Vincent Van Gogh, as the only artist of comparable intensity. Wolmark also exhibited at the influential 'Manet and the Post-Impressionists' exhibition at the Grafton Gallery in 1910, organised by Roger Fry. Wolmark has been referred to as the 'father' of the Whitechapel Boys. He was the only artist to be included in both the Whitechapel Art Gallery's 1906 'Jewish Art and Antiquities Exhibition' and in David Bomberg and Jacob Epstein's 'Jewish Section' at the 1914 exhibition 'Twentieth-Century Art: A Review of Modern Movements'.
Twins Seven Seven, Nigerian 1944-2011 - An Iron of God in His Shrine; ink on paper, signed, titled and inscribed lower right 'An Iron of God in His Shrine, Twin Seven Seven', 99 x 64 cm Provenance: Gerald Moore and thence by descentNote:full inscription reads:" 'An Iron of God in His Shrine' with An Invisible God of Iron on a Miracle DrumPens work by Twins Seven Seven Georgina Art School P.O.68 OshogboAn Illustration from the Book of Brave African Huntress"'The Brave African Huntress' is a book by Amos Tutuola first published in 1958 with illustrations by Ben Enwonwu.Gerald Moore was an important, writer, teacher and scholar of contemporary African anglophone and francophone poetry. He lived and taught in Nigeria in the 1950s and again during the 1970s, becoming friendly with writer Ulli Beier and artist Susanne Wenger. With Beier he edited the influential anthology ‘Modern Poetry from Africa’ published in 1963 and he also wrote a biography of poet Wole Soyinka in 1971. His collection also included works by Gerard Sekoto and Muraina Oyelami.Moore helped organise an exhibition of the artist’s work at the School of African and Asian Studies at the University of Sussex, when he was working there in the late 1960s to the early 1970s. Twins Seven-Seven is one of the best know artists of the Oshogbo School, using his experience as a singer and dancer to create his highly individual vision. His work has been exhibited across the world, including the Pompidou Centre, Paris, Houston Contemporary Arts Museum, MoMA, New York, the National Museum of African Art, Washington, D.C. and the National Modern Art Gallery in Lagos.
Mario Sironi,Italian 1885-1961 -Figura;oil on paper, laid down on board, 49 x 24 cm (ARR) (VAT charged on hammer price)Provenance:Sotheby's, London, 19th October 1988, lot 377; private collectionExhibited:Willistead Art Gallery, Windsor, Ontario, Canada, 1957 (according to label attached to the reverse)Note:in November 1957, there was an exhibition at the Willistead Art Gallery, 'A Selection of Fifty Modern Italian Paintings, Drawings and Prints from The Estorick Collection.' There is a work listed in the catalogue which matches the size and subject matter so the present lot was likely included in this exhibition.As part of their honeymoon from 1947-48, Estorick and his wife travelled to Milan and visited the studio of Sironi. Enraptured by his work, he purchased "hundred and hundreds of drawings and as many pictures as I could get in to my Packard Convertible Roadster". Sironi's work was integral to the his collection, however he sold most from this initial purchase, as in the mid-1950s Estorick became a full-time art dealer. He was a London representative for Sydney Janis Gallery, New York, and acted as a representative for a number of Hollywood clients at auction. In 1960, he founded the Grosvenor Gallery in London. Sironi studied under Giacomi Balla, which was formative for his career, as was befriending Gino Severini and Umberto Boccioni. In the present work, the influence of Roman mosaics can be seen. Sironi's works are in the collections of Museo del Novecento, Milan; Pinacoteca di Brera, Milan; Guggenheim Collection, Venice; Tate Gallery, London; the Musée National d'Art Moderne, Paris; and the Vatican Museums.
Nachum Gutman, Israeli 1898-1980 - Scene of Tiberias, c.1950; gouache on paper, signed in Hebrew lower left, 49.5 x 64.7 cmProvenance:Rena Behrman and thence by descentNote:Rena Behrman (1909-2017) helped to aid the escape of more than 1000 Jewish refugees from Europe to Britain during the Second World War. Items from her collection were donated to the British Museum.This is a brilliant example of the artist's mature style, demonstrating his fresh and colourful handling of everyday scenes. Gutman studied in Paris, and while there is a similarity in his work with that of French artists such as Raoul Dufy, the artist pioneered a distinctly Israeli style of modern painting with other artists (the 'Eretz-Israeli' style) on his return to Israel in the 1920s, seen here in the distinctive architecture and emphasis on curved lines. Tiberias is considered one of Judaism's Four Holy Cities, sitting on the shore of the Sea of Galilee. Gutman loved this scene with its Middle Eastern-style restaurant and depiction of the fisherman and painted it many times from 1949, for example 'Figure on the shore of Lake Kinneret, 1949'. These works are often considered the best watercolours of his career. There is a museum dedicated to the artist in Tel Aviv.With thanks to Tali Tamir, previous curator at the Nachum Gutman Museum of Art.
Nicholas Krushenick, American 1929-1999 - Flying Zonk, 1967; acrylic on paper, collage, signed and dated on the reverse 'Nicholas Krushenick 1967', 100.5 x 80.5 cm (VAT charged on Hammer Price) Exhibited:The Art Museum of Ateneum, Helsinki, 'Ars 69 Helsinki,' 8th-13th March 1969, no.102 (with exhibition label affixed to concealed backing board)Note:Ars is one of the oldest recurring exhibitions of contemporary art in Europe. The present lot was exhibited alongside masters of Modern era including Francis Bacon, Richard Hamilton, Andy Warhol, Roy Lichtenstein, Josef Albers, Alexander Calder and Robert Indiana. The bold, cartoon-like lines of this work are definitive of the Pop Art movement. The brightly painted paper, collaged in a nod to Matisse, create a dynamic and energetic work. During the 1960s, Krushenick was included in seminal museum exhibitions at the Los Angeles County Museum of Art (1964), Stedelijk Museum (1964), Guggenheim Museum, New York (1964). In 1968, the Walker Art Center held a retrospective of his work.
Charles Higgins ('PIC'), Scottish 1893-1980 - ¿Que Me Cuentas?; oil on panel, signed lower right 'PIC' and signed and titled on the reverse, 15.1 x 22.5 cm (unframed) (ARR)Provenance:the Estate of the Artist Note:writer and painter Charles Higgins painted under the pseudonym of PIC and created some of the most extraordinary and enigmatic British paintings of the 20th century. Setting mythological and fantastical imagery within imagined landscapes, PIC's work transports the viewing through time and the imagination, demonstrating the same visionary zeal as figures such as Marc Chagall, Cecil Collins and Leonora Carrington. His work was exhibited in some of the most important British galleries of the 20th century, including the Wertheim Gallery during the 1930s, Gimpel Fils during the 1940s and 50s and Jack Bilbo's celebrated The Modern Art Gallery in the 1940s.
Charles Higgins ('PIC'), Scottish 1893-1980 - Painter and Fairy, 1963; oil and fluorescent paint on card, signed lower left 'Pic' and titled and dated on a label attached to the reverse, 9.5 x 7.6 cm: together with 3 other unframed works on paper by the same artist, 'Centurion, 1958', oil and decalcomania on paper laid down on board, signed, titled and dated on the reverse of the mount 'PIC Centurion 1958' , 14.8 x 14.8 cm; 'Lion in Wilderness, 1967', 8.8 x 7.7 cm and 'Water Bird, 1965, 10.4 x 13.5 cm (4) (ARR) Provenance:the Estate of the Artist Note: writer and painter Charles Higgins painted under the pseudonym of PIC and created some of the most extraordinary and enigmatic British paintings of the 20th century. Setting mythological and fantastical imagery within imagined landscapes, PIC's work transports the viewing through time and the imagination, demonstrating the same visionary zeal as figures such as Marc Chagall, Cecil Collins and Leonora Carrington. His work was exhibited in some of the most important British galleries of the 20th century, including the Wertheim Gallery during the 1930s, Gimpel Fils during the 1940s and 50s and Jack Bilbo's celebrated The Modern Art Gallery in the 1940s.
RIOPELLE, JEAN PAUL1923 Montreal - 2002 Ile-aux-GruesTitel: Ohne Titel. Datierung: 1964. Technik: Öl auf Leinwand. Maße: 46 x 38cm. Bezeichnung: Signiert unten rechts: Riopelle. Rahmen/Sockel: Rahmen. Provenienz:- Galerie Jean Fournier, Paris- Galerie Kornfeld, Bern, 250. Auktion, 18.06.2010, Lot. 127- Privatsammlung DeutschlandLiteratur:- Riopelle, Yseult/Waldberg, Michel: Jean Paul Riopelle - Catalogue raisonné, Vol. 3, 1960-1965, WVZ.-Nr. 1964.023H.1964, Abb.- Bedeutender franko-kanadischer Künstler, der in seinem diesjährigen 100. Geburtsjahr mit zahlreichen internationalen Ausstellungen geehrt wird (u.a. in der Fondation Maeght/Saint-Paul de Vence, 1.7.-12-11.2023)- Attraktive Arbeit in sehr pastoser Malweise, entstanden in einer starken und experimentellen Schaffensphase- Riopelle war Teilnehmer der documenta II (1959) und documenta III (1964) in KasselIm Stile Jackson Pollocks fand der in Kanada geborene Jean Paul Riopelle zunächst seinen Weg zum Action Painting, bei dem die Farbe auf die Leinwand getropft wird. Ab 1945 schließt er sich der Künstlergruppe "Les Automatistes" an, die ihren Namen ihrer spontanen Arbeitsweise verdankten. Bereits ab dem Jahr 1950 änderte er seine Technik: gespachtelte Farbflecken in ausgewogener Chromatik werden mosaikartig, im Stile des Abstrakten Expressionismus, nebeneinander gesetzt. Seine Werke entstehen stets in mehreren Arbeitsgängen: zunächst tropfte und schleuderte er die Farbe auf die Leinwand und zog mit einem Spachtel Bahnen. Im Anschluss brachte er dünne Farbfäden auf, die der Oberfläche eine gitterartige Struktur verleihen. 1955, also wenige Jahre vor der Entstehung des hier angebotenen Gemäldes, begegnete er der amerikanischen Malerin Joan Mitchel, die auch im Abstrakten Expressionismus malte. Mitchel wurde seine Lebensgefährtin und 1959 bezog er mit ihr eine gemeinsame Wohnung in Paris. Die gegenseitige Beeinflussung scheint beiden Künstlern gut zu tun - die 1950er und 1960er Jahre werden zu Riopelles stärkster Schaffensphase, für die der Frankokanadier später internationale Bekanntheit erlangt.Auch in seinem 100. Geburtsjahr zählt Riopelle nach wie vor zu einem international gefragten Künstler. Seine Werke werden in zahlreichen wichtigen öffentlichen Sammlungen gezeigt darunter Tate Gallery, London, Centre Georges Pompidou, Paris, und Museum of Modern Art, New York. Erläuterungen zum Katalog
SCHULTZE, BERNARD1915 Schneidemühl - 2005 KölnTitel: "Merlin". Datierung: 1957. Technik: Öl und Mischtechnik auf Hartfaser. Maße: 40 x 30cm. Bezeichnung: Signiert und datiert unten rechts: Bernard Schultze 1957. Bezeichnet, betitelt, datiert und signiert verso: 36/57 (eingekreist) Merlin 1957 Bernard Schultze. Rahmen/Sockel: Rahmen. Provenienz:- Galerie Inge Ahlers, Mannheim- Sammlung Karl Ströher, Darmstadt- Privatsammlung HessenAusstellungen:- Deutsche Bundesbank, Frankfurt a.M. 2001Literatur:- Diederich, Stephan/Herrmann, Barbara (Hrsg.): Bernard Schultze - Verzeichnis der Werke, Bd. II, 1939 bis 1989, Köln 2015, WVZ.-Nr. 57/17, o. Abb.VAN HAM Art Estate vertritt seit 2018 den künstlerischen Teilnachlass von Bernard Schultze des Folkwang-Museumsvereins e.V., Essen. Erläuterungen zum Katalog
SCHULTZE, BERNARD1915 Schneidemühl - 2005 KölnTitel: "Pastorale". Datierung: 1953. Technik: Öl auf Hartfaserplatte. Maße: 35 x 70cm. Bezeichnung: Signiert, bezeichnet, betitelt und datiert verso: Bernard Schultze Frankfurt Pastorale / 53. Rahmen/Sockel: Rahmen. Provenienz:- Ingrid Zscheschel, Oberursel- Privatsammlung HessenAusstellungen:- Zimmergalerie Klaus Franck, Frankfurt a.M. 1954Literatur:- Diederich, Stephan/Herrmann, Barbara (Hrsg.): Bernard Schultze - Verzeichnis der Werke, Bd. II, 1939 bis 1989, Köln 2015, WVZ.-Nr. 53/21, o. Abb.VAN HAM Art Estate vertritt seit 2018 den künstlerischen Teilnachlass von Bernard Schultze des Folkwang-Museumsvereins e.V., Essen. Erläuterungen zum Katalog
SCHULTZE, BERNARD1915 Schneidemühl - 2005 KölnTitel: "Lumpen-Migof". Datierung: 1985. Technik: Öl auf Leinwand. Maße: 200 x 140cm. Bezeichnung: Signiert und datiert unten rechts: Bernard Schultze 85 sowie signiert, betitelt und datiert verso: Bernard Schultze "Lumpen-Migof" 85. Rahmen/Sockel: Modellrahmen. Provenienz:- Privatsammlung Nordrhein-WestfalenAusstellungen: - Dortmunder Kunstverein, 1986Literatur:- Diederich, Stephan/Herrmann, Barbara: Bernard Schultze - Verzeichnis der Werke Bd. II, 1939 bis 1989, Köln 2015, WVZ.-Nr. 85/19, Abb.- Schmidt, Konrad: Schultze-Bilder: Monolog in der inneren Welt, in: Ruhr-Nachrichten, 15.02.1986, Abb.- Handschriftliche Werkliste des KünstlersVAN HAM Art Estate vertritt seit 2018 den künstlerischen Teilnachlass von Ursula Schultze-Bluhm und Bernard Schultze des Folkwang-Museumsvereins e.V., Essen. Erläuterungen zum Katalog
SCHULTZE, BERNARD1915 Schneidemühl - 2005 KölnTitel: "barocke Natur". Datierung: 2001. Technik: Öl auf Leinwand. Maße: 200 x 160cm. Bezeichnung: Monogrammiert und datiert unten rechts: BS 2001. Signiert, datiert und betitelt verso mittig: Bernard Schultze 2001, "baroke Natur" (sic!). Provenienz: - Nachlass Bernard Schultze und Ursula Schultze-Bluhm Folkwang-Museumsverein e.V., EssenAusstellungen: - Bernhard Schultze, Berlin 2011Literatur: - Diederich, Stephan/Herrmann, Barbara (Hrsg.): Bernard Schultze - Verzeichnis der Werke, Bd. III, 1990 bis 2005, Köln 2015, WVZ.-Nr. 01/4, S.925VAN HAM Art Estate vertritt seit 2018 den künstlerischen Teilnachlass von Ursula Schultze-Bluhm und Bernard Schultze des Folkwang-Museumsvereins e.V., Essen. Erläuterungen zum Katalog
MOTHERWELL, ROBERT1915 Aberdeen, WA/USA - 1991 ProvincetownTitel: Lyric Suite. Datierung: 1965. Technik: Tinte auf Reispapier. Maße: 23 x 28cm. Bezeichnung: Monogrammiert oben rechts: RM. Rahmen/Sockel: Rahmen. Provenienz: - Dedalus Foundation, New York - Galerie Hopkins, New York - Privatsammlung Deutschland Ausstellungen: - Judson Art Warehouse, New York (Aufkleber) - Bernard Jacobson Gallery, London 2011 (Aufkleber) - Galerie Hopkins, Paris 2012 (Aufkleber)Die sechs hier angebotenen Zeichnungen gehören zu einer Serie von 565 "automatic drawings", die der Künstler im Sommer 1965 schuf. Die Serie entstand im Laufe von sechs Wochen, in denen Motherwell wiederholt Alban Bergs Komposition "Lyric-Suite" hörte. Ausgestattet mit identischen Japan-Papierblättern, einem Aquarellpinsel und Tusche, ließ er die Zeichnungen spontan entstehen. Nachdem er die Tusche auf das Papier gegossen hatte, floss sie von selbst, manchmal durch sanfte Berührungen des Pinsels geführt, manchmal füllte sie das Blatt mit einem einzigen langen Pinselstrich.Das automatische Zeichnen, das als Mechanismus zum Ausdruck des Unbewussten angesehen wurde, war von den Surrealisten in die moderne Kunst eingeführt worden. Während seines Studiums der Kunstgeschichte in New York in den frühen 1940er Jahren machte Motherwell Bekanntschaft mit Surrealisten, die in die Vereinigten Staaten geflüchtet waren. Dieser Zustrom von europäischen Avantgarde-Künstlern hatte einen großen Einfluss auf die Entstehung des amerikanischen Abstrakten Expressionismus nach dem Zweiten Weltkrieg und der "New York School", der Motherwell maßgeblich angehörte. Künstler wie Willem de Kooning und Jackson Pollock, verliehen ihren Gefühlen und unbewussten Trieben durch das so genannte "Action Painting" Ausdruck. Andere, wie Mark Rothko und Barnett Newman, suchten durch die Farbfeldmalerei eine eher meditative, introspektive Erfahrung. Die hier gezeigten Werke aus der "Lyric-Suite" demonstrieren Motherwells große Beherrschung der freien und kraftvollen doch dennoch in sich ruhenden Zeichnung. Erläuterungen zum Katalog
WARHOL, ANDY1928 Pittsburgh, PA/USA - 1987 New YorkTitel: Mickey Mouse. Aus: Myths. Datierung: 1981. Technik: Farbserigrafie mit Diamantstaub auf Lenox Museumskarton. Darstellungsmaß: 96,5 x 96,5cm Bezeichnung: Signiert und nummeriert. Herausgeber: Ronald Feldman Fine Arts, Inc., New York (Hrsg.). Exemplar: 168/200. Rahmen: Rahmen. Das Blatt ist mit dem Trockenstempel des Druckers Rupert Jason Smith, New York, versehen. Auf der Rückseite befindet sich der Copyright-Stempel des Künstlers.Provenienz:- Privatsammlung Nordrhein-WestfalenLiteratur:- Feldman, Frayda/Schellmann, Jörg: Andy Warhol - Prints, A Catalogue Raisonné 1962-1987, Mailand 2003 (4. Aufl.), WVZ.-Nr. II.265, Abb.- Werke aus Warhols "Myths"-Serie zählen derzeit zu den gefragtesten auf dem Auktionsmarkt- Stilisierte und durch dichten Diamantstaub betörend, funkelnde Darstellung der Mickey Mouse - Ein wahres "Signature"-Piece des Künstlers- Mickey Mouse ist wohl die weltweit bekannteste Kunstfigur, die 1928 von Walt Disney erschaffen wurdeDer amerikanische Maler, Grafiker und Filmemacher Andy Warhol ist einer der Hauptvertreter der Pop-Art und einer der international gefragtesten Künstler auf dem Kunstmarkt. Seine weltweit bekannten Motive haben inzwischen ikonenhaften Status erlangt und erzielen Spitzenpreise auf dem Auktionsmarkt. Seine Erfolgsgeschichte beginnt bereits in seiner Kindheit, wo er am Küchentisch mit seinen Brüdern malt und zeichnet, unterstützt von seiner kunstbegabten Mutter. Andy Warhol studiert 1945 bis 1949 am Carnegie Institute of Technology in Pittsburgh. Anschließend arbeitet er als Werbegrafiker und Illustrator u.?a. für Mode-Zeitschriften in New York. Um 1960 wendet er sich der freien Kunst zu und gründet 1962 die "Factory", eine Art Experimentier-Werkstatt für Film, Fotografie, Musik und Druckgrafik. Hier gestaltet er die ersten Serienbilder ("Campbell's Soup", 1962). Als Vorlage für die Gemälde dienen ihm v.a. Werbeanzeigen und Comics, wobei er durch das Wiederholen des banalen Motivs die Wahrnehmung des Betrachters zu manipulieren sucht. Im Bestreben, die persönliche Handschrift völlig zu eliminieren, bedient er sich schließlich des Siebdruck-Verfahrens nach fotografischen Vorlagen. Mit seiner Motivauswahl reagiert er auf die gesellschaftlichen Veränderungen seiner Zeit, die durch die Konsumkultur und Massenmedien beeinflusst wird. Andy Warhol war fasziniert von dem Glamour Hollywoods und hat immer wieder berühmte Persönlichkeiten porträtiert, um damit auf die Idealisierung durch die Öffentlichkeit anzuspielen. Mit dem Portfolio "Myths" von 1981 setzt er sich erstmals auch mit fiktiven Charakteren des 20. Jahrhunderts auseinander, die ganze Generationen beeinflusst haben; dazu gehören bekannte Helden wie Superman, Mata Hari und Santa Claus. Die meisten dieser Figuren sind weithin anerkannte Symbole für die Nostalgie der Kindheit und die Träume der Menschen, die sie erschaffen haben. Walt Disneys Mickey Mouse ist die wohl weltweit bekannteste Kunstfigur, die 1928 erstmals in dem Film "Steamboat Willie" öffentlich gezeigt wurde. 1930 erschien der erste Comic und von da an eroberte die sympathische Maus die Welt. Eine Erfolgsgeschichte, die seinesgleichen sucht. Mickey Mouse ist durch Comics, Merchandise Artikeln und Vergnügungsparks international bekannt geworden und ist zu einem gesellschaftlichen Konsumgut geworden. Es ist nur folgerichtig, dass Sie auch das Interesse von Andy Warhol geweckt hat und in ganz charakteristischer Weise und mit Diamantstaub funkelnd Einzug in sein Oeuvre gefunden hat. Erläuterungen zum Katalog
DAHMEN, KARL FRED1917 Stolberg - 1981 PreinersdorfTitel: "Vegetative Komposition". Datierung: 1955. Technik: Mischtechnik auf Leinwand, auf Holz aufgezogen. Maße: 53,5 x 79cm. Bezeichnung: Signiert, betitelt und datiert verso mittig: DAHMEN 'VEGETATIVE KOMPOSITION' 1955. Rahmen/Sockel: Künstlerrahmen. Provenienz:- Privatsammlung Nordrhein-WestfalenLiteratur:- Weber, Thomas: K.F. Dahmen. Werkverzeichnis Band I, 1946-1965, Köln 2003, WVZ.-Nr. 033.55 - B 0640, Abb.VAN HAM Art Estate vertritt seit 2013 den künstlerischen Nachlass von Karl Fred Dahmen (www.karl-fred-dahmen.de). Erläuterungen zum Katalog
DAHMEN, KARL FRED1917 Stolberg - 1981 PreinersdorfTitel: "Objektkasten grün 3 Flaschen". Datierung: 1975. Technik: ObjektkastenMaße: 206 x 130 x 11,5cm. Bezeichnung: Signiert und betitelt verso: K.F. Dahmen OBJEKTKASTEN GRÜN 3 FLASCHEN. Rahmen/Sockel: Rahmen. Provenienz:- Nachlass Karl Fred DahmenAusstellungen:- Kunstverein Salzburg, 1976- Neue Galerie der Stadt Linz, 1976- Moderne Galerie des Saarland-Museums, Saarbrücken 1985- Ehemalige Reichsabtei Kornelimünster, Aachen 1999- Galerie Boisserée, Köln 2000- Galerie Boisserée, Köln 2011Literatur:- Dahmen, Volker (Hrsg.): Karl Fred Dahmen. Werkverzeichnis. 1966-1981, Bd. II, bearb. von Thomas Weber, Köln 2003, WVZ.-Nr.: 003.75 - B 120, S. 254, Abb.- de la Motte, Manfred (Hrsg.): K.F. Dahmen, aus Anlass der Ausstellung im Februar 1979, in: Taschenbuchreihe der Galerie Hennemann, Bd. 19, Bonn 1979, S. 54, Abb. - Ausst.-Kat. K.F. Dahmen (1917-1981). Bilder und Montagen 1956-1981, Moderne Galerie des Saarland-Museums, Saarbrücken 1985, S. 108, Abb. - Ausst.-Kat. Karl Fred Dahmen (1917-1987). Die Arbeiten der 1970er, Galerie Kahlen/Titz, Aachen/Ehemalige Reichsabtei Kornelimünster, Aachen/Galerie Boisserée, Köln, Aachen 1999, Kat.-Nr. VII, Abb. - Ausst.-Kat. Karl Fred Dahmen. Malerei, Materialbilder und Objektkästen, Galerie Boisserée, Köln 2011, Kat.-Nr. 45, Abb.VAN HAM Art Estate vertritt seit 2013 den künstlerischen Nachlass von Karl Fred Dahmen (www.karl-fred-dahmen.de). Erläuterungen zum Katalog
DAHMEN, KARL FRED1917 Stolberg - 1981 PreinersdorfTitel: "Galgenbild". Datierung: 1969. Technik: Polsterobjekt mit diversen Materialiená Maße: 105 x 90cm. Bezeichnung: Signiert, betitelt und datiert verso oben links: K. F. Dahmen Galgenbild 69. Hier zudem mit Richtungspfeil versehen. Rahmen/Sockel: Plexiglaskastenrahmen. Provenienz:- Privatsammlung Nordrhein-WestfalenLiteratur:- Weber, Thomas: K.F. Dahmen - Werkverzeichnis, Bd. II, 1966-1981, Köln 2003, WVZ.-Nr. 011.69 - B 0197a, Abb.- de la Motte, Manfred (Hrsg.): K.F. Dahmen, aus Anlass der Ausstellung im Februar 1979, in: Taschenbuchreihe der Galerie Hennemann, Bd. 19, Bonn 1979, Abb.VAN HAM Art Estate vertritt seit 2013 den künstlerischen und schriftlichen Nachlass von Karl Fred Dahmen. Erläuterungen zum Katalog
DAHMEN, KARL FRED1917 Stolberg - 1981 PreinersdorfTitel: "Furchenbild-Braun Nocturno - Hommage an Haydn". Datierung: 1978. Technik: Mischtechnik auf Leinwand. Maße: 100,5 x 90cm. Bezeichnung: Signiert und datiert oben links: Dahmen 1978. Nochmals datiert oben rechts. Verso signiert, datiert und betitelt: K.F. Dahmen Furchenbild-BRAUN 1978 "Nocturno Hommage an Hayden" (sic.!). Zudem mit Richtungspfeil versehen. Rahmen/Sockel: Künstlerrahmen. Provenienz:- Privatsammlung Rheinland-PfalzLiteratur:- Weber, Thomas: K.F. Dahmen. Werkverzeichnis Band II, 1966-1981, Köln 2003, WVZ.-Nr. 035.78 - B 0198a, Abb.VAN HAM Art Estate vertritt seit 2013 den künstlerischen Nachlass von Karl Fred Dahmen (www.karl-fred-dahmen.de). Erläuterungen zum Katalog
DAHMEN, KARL FRED1917 Stolberg - 1981 PreinersdorfTitel: "Das Dorf". Datierung: 1953. Technik: Öl auf Leinwand. Maße: 70,5 x 110cm. Bezeichnung: Signiert und datiert unten mittig: Dahmen 1953. Rahmen/Sockel: Atelierleiste. Provenienz:- Nachlass Karl Fred DahmenAusstellungen:- MKM Museum Küppersmühle für Moderne Kunst, Duisburg 2017Literatur:- Dahmen, Volker (Hrsg.): Karl Fred Dahmen. Werkverzeichnis. 1946-1966, Bd. I, bearb. von Thomas Weber, Köln 2003, WVZ.-Nr. 002.53 - B 0108, Abb.- Ausst.-Kat. Karl Fred Dahmen. Das Prinzip Landschaft, MKM Museum Küppersmühle für Moderne Kunst, Duisburg/Leopold-Hoesch-Museum, Düren, Köln 2017, S.220.Durch einen Aufenthalt im Jahr 1952 in Paris beginnt Karl Fred Dahmen sich mit Informeller Malerei auseinanderzusetzen. In der französischen Hauptstadt steht er im engen Kontakt mit den Künstlern der Nouvelle École de Paris, darunter Serge Poliakoff, Raoul Ubac, Louis Nallard, Maria Manton sowie dem Kunstkritiker Karl-Heinz Goerres und entwickelt seine eigene abstrakte Bildsprache. 1953 organisiert er die erste deutsch-französische Ausstellung "Malerei von Heute" in Aachen, Köln und Düsseldorf, die erstmals Werke von Poliakoff in Deutschland zeigen. Das konstruktive und vordergründige, von Linien dominierte abstrakte Gemälde "Das Dorf" entstammt dieser Frühphase und bildet einen topografischen Landschaftsplan ab, in dem Felder, Häuser und Straßen zu erahnen sind. Die horizontalen und vertikalen Linien erzeugen eine rasterartige Struktur mit farbig ausgearbeiteten Flächen, wobei der Bildtitel weiterhin einen Bezug zur Wirklichkeit gibt.VAN HAM Art Estate vertritt seit 2013 den künstlerischen und schriftlichen Nachlass von Karl Fred Dahmen (www.karl-fred-dahmen.de). Erläuterungen zum Katalog
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