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Lot 134
WENDY RAMSHAW C.B.E. R.D.I. (BRITISH 1939-2018) CHAIN OF TEARS FOR 'WEEPING WOMAN' NECKLACE, 1998 glass and steel, from the Picasso's Ladies collection, one of a series of four unique works, the glass elements made by glass artist Neil Wilkin, in perspex box approximately 41cm x 9cm Acquired directly from the maker, October 1998;Property of a Private Aficionado. Literature:Picasso's Ladies: Jewellery by Wendy Ramshaw, Arnoldsche Art Publishers, 1998, cat. no. 60, example illustrated and p.168 (artist's notes). The Times, London, The Sparklers the Pablo Left Out, Friday 11 September 1998, example illustrated. Exhibited:Victoria & Albert Museum, London, Picasso's Ladies: Jewellery by Wendy Ramshaw, 8 September 1998-15 February 1999, one of the four variants exhibited. In Wendy Ramshaw's book on the ‘Picasso's Ladies' she describes in her personal notes this necklace:'‘Weeping Woman’, 1937, belongs to the series of paintings of Dora Maar. She weeps, expressing her sadness and grief. Picasso uses her to express a war-torn Europe.The inspiration of the tears came from a segment of mauve glass with a droplet-like shape which was once part of a Victorian chandelier. The water-shaped form was recreated in luminous glass in shades of blue and green. The double-stranded necklace is strung to appear like a cascade of water drops. Over 100 of these glass droplets are hung on the steel of the necklace, achieving an apparently random effect. The necklace expresses my feelings for the beautiful Dora Maar who, according to the visual records of Picasso, wept many tears. The beauty of the colours may detract from her sadness and crying. Dora Maar's tears are lifted into another realm, as one might find in a fairy tale, which might not necessarily have a happy ending.' (Quoted in Picasso's Ladies: Jewellery by Wendy Ramshaw, p.168)One of the series was also exhibited at a Wendy Ramshaw exhibition in Damstadt in 2001 (27 January to 18 March 2001), and two of the four examples are help in the collections of the Museum of Art and Design, New York and the Aberdeen Gallery & Museums, Aberdeen.
Lot 41
Sylvette David, a signed 10x8 inch photo of the painting "Sylvette" (1954) by Pablo Picasso. She is a French-English artist and former artist's model known for being "the girl with the ponytail" in Pablo Picasso's Sylvette series of paintings. Picasso persuaded her to sit for him regularly and created a series of more than 60 portraits of her in various media. In the summer of 1954, the "Sylvette" series was exhibited in Paris to critical acclaim. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 317
ITALIAN SCHOOL (18TH CENTURY) ENDYMION SLEEPING WITH HIS DOG BESIDE HIM Oil on canvas, en grisaille 163 x 112cm (64 x 44 in.) Provenance: Sir John Richardson (1924-2019), New York (photographed in situ in 'The Great Room' for New York Magazine, 18 February 2014)Literature: Apollonius of Rhodes, Argonautica H. S. Jones, A Catalogue of the Ancient Sculptures Preserved in the Municipal Collections of Rome: The Sculptures of the Museo Capitolino, Oxford, 1912 D. E. Robinson, 'A Question of the Imprint of Wedgwood in the Longer Poems of Keats', Keats-Shelley Journal 16, 1967, 23-28 Though several varying myths regarding Endymion survive to us from antiquity, the present scene depicts him as a youthful shepherd asleep on Mount Latmus. One version of the myth sees Jupiter punish the youth for pursuing a romantic interest in Juno, however this present painting likely depicts the latter variant: Selene, Titan goddess of the moon so loved Endymion's beauty, she asked Jupiter to grant him eternal youth. Whatever the case, Jupiter granted Selene's wish, placing Endymion into an eternal sleep so Selene could visit him every night to admire his beauty.This elegantly painted grisaille, a technique that mimics bas-reliefs and sculpture, depicts Endymion sleeping with his dog beside him. It is based on a second-century A.D. Roman bas-relief currently housed in the Capitoline Museum in Rome. Seated on a rock asleep, the figure's long locks of gently curled hair frame his face. Content in his slumber, Endymion's right arm hangs tenderly down, whilst his left arm rests on his bent knee. Over his left arm and covering partially the rock on which he sleeps is an intricately draped chlamys. Appearing as if it could almost spring to life, a dog is depicted upright and animated, attempting to rouse Endymion from his peaceful, dormant state. Whilst for the most part, the painting appears to imitate its ancient counterpart, the facial features here suggest a more tranquil state of sleep when compared to the flat expression of the marble bas-relief.Artists such as the gem engraver Nathaniel Marchant and the ceramicist Josiah Wedgwood both produced Grand Tour artworks depicting the Capitoline Museum bas-relief. This painting reflects the renewed interest in classical art during the late eighteenth and early nineteenth centuries, drawing inspiration from Roman antiquities. It skilfully captures the realism of Imperial Roman sculpture, blending classical ideals with lifelike precision.This lot belonged to Sir John Richardson, art historian and author of the magisterial biography of Pablo Picasso, the first volume of which was published in 1991 and which won the Whitbread book of the year award. Sir John Richardson gave the eulogy at Andy Warhol's funeral. Condition Report: The canvas is lined and the paint surface is slightly dirty with a clear but uneven varnish. The broad weave of the canvas has resulted in a surface that is slightly pock-marked with pinprick losses scattered particularly in the upper half of the painting. There is visible retouching to a repaired horizontal tear in the upper left corner, approx. 17cm. long. There are also fine lines of visible retouching to the network of craquelure in the shadow behind Endymion. Inspection under ultraviolet light confirms the aforementioned retouching and further reveals retouching to a small horizontal tear, just above the centre of the lower margin, approx. 5 cm. long. Otherwise only a handful of spot retouchings are visible, for example above the figure's belly button and in the shoulder of the dog. The painting presents well in its current state and is in overall good condition.Condition Report Disclaimer
Lot 563
TWO BOXES OF BOOKS ON ART / ARTISTS containing approximately forty titles in hardback and softback formats and five magazines, subjects / titles include two volumes of Artists In Britain Since 1945 by David Buckman, British Artists 1880 - 1940, published by The Antique Collectors Club, Pablo Picasso - Catalogue de l'oeuvre grave et lithographie 1904 - 1967, Isherwood by Stephen Eckersley, R.B. Kitaj by Marco Livingstone, Dictionary of Victorian Painters, Keith Vaughn Journals 1939 - 1977, Cecil Collins by William Anderson, The Dictionary of Scottish Painters 1600 - 1960, Bonnard The Complete Graphic Work and others
Lot 88
Auction catalogue from Ketterer Kunst's June 6th, 1994 auction in Munich. Includes descriptions, full color images, and estimated values of 319 modern pieces of artwork. Recognizable artists include: Gustav Klimt, Pablo Picasso, and Wassily Kandinsky. Text written in German. Total pages 245. Issued: 1994Dimensions: 10.5"L x 7.5"WManufacturer: Ketterer KunstCountry of Origin: GermanyCondition: Age related wear.
Lot 203
Pablo PICASSO (1881 - 1973). Graphik.Nummerierte Graphik mit Drucksignatur in limitierter Auflage. Hand nummeriert Nr. 109/250. Blattmaß 38 x 28,5 cm. Prägung unten links: S.P.A.D.E.M. Paris. Zustand siehe Fotos. Versand kann organisiert werden.Pablo PICASSO (1881 - 1973), graphic. Numbered print with print signature in a limited edition. Hand numbered no. 109/250. Sheet size 38 x 28.5 cm. Embossed lower left: S.P.A.D.E.M. Paris. See photos for condition. Shipping can be organised.
Lot 205
Pablo PICASSO (1881 - 1973). Graphik.Nummerierte Graphik mit Drucksignatur in limitierter Auflage. Hand nummeriert Nr. 9/250. Blattmaß 38 x 28,5 cm. Prägung unten links: S.P.A.D.E.M. Paris. Zustand siehe Fotos. Versand kann organisiert werden.Pablo PICASSO (1881 - 1973), graphic. Numbered print with print signature in a limited edition. Hand numbered no. 9/250. Sheet size 38 x 28.5 cm. Embossed lower left: S.P.A.D.E.M. Paris. See photos for condition. Shipping can be organised.
Lot 59162
Picasso, Pablo (Malaga 1881 - 1973 Mougins)Farblinolschnitt "Visage" auf Arches - Velin, unterhalb der Darstellung in Blei nummeriert und signiert "11/50 Picasso", Darstellung 35,1 x 27,1 cm, Blatt 62,9 x 44,4 cm, unten links Wasserzeichen (Teil) "ARC", 1962, oben links kleiner Fleck, untere rechte Ecke minimal wasserrandig, an den Rändern minimal gebräunt, insgesamt sehr guter Zustand, dazu Farblithographie "Le Fumeur" auf Arches - Velin, oben rechts datiert und nummeriert "20.5.64. VII", Darstellung 22 x 13,5 cm, Blatt 32,4 x 24,4 cm, Pochoir nach einer Zeichnung von 1964, Druck Offizien Günther Dietz Lengmoos, Blatt VII aus der 1970 in einer Auflage von 666 unsignierten Exemplaren bei Edition Cercle d´Art Henry Abrans in Genf erschienenen Mappe "Le Gout de Bonheur", Darstellung farbfrischer Zustand, an drei Seiten aber deutliche Lichtränder 2001 Lit.: zu a) Georges Bloch 1968, Picasso - Catalogue de l´œvre gravé et lithographié 1904 - 1967, Nr. 1090 Prov.: Erworben ~1970 im Handel, Sammlung Bielefeld, Besitz der Erben
Lot 200
LithographiePablo Picasso 1881 Málaga - 1973 Mougins "Le Mains Liees VI (IV)" 1952 einer der nicht signierten u. nummerierten Abzüge für den Künstler, außerhalb der nummerierten Auflage von 50 Stck.auf Arches (mit dem Wasserzeichen) 50,5 x 66 cm (Blattmaß), verso nicht bezeichnet. Wkvz.: Bloch 711, Rau 546 leicht, unregelmäßig gebräunt, auf den säurefreien Auflagekarton montiert
Lot 198
Lithographie Pablo Picasso1881 Málaga - 1973 Mougins "Faune musicien - No. 5" 1948 u. re. sign. Picasso Exemplar 48/50, 76 x 56 cm (Blattmaß) 69 x 50 (Darstellung) Wkvz.: Bloch 523; Rau 351 Provenienz: Privatsammlung Frankfurt Recto leicht durchscheinende Montagespuren, an den oberen Ecken, linke Seite mit einem geschlossenen kleinen Einriss, etwas gebräunt, minimal fleckig.
Lot 1674
Flechtheim Galerie - - Sammlung von sechs seltenen Katalogen der Galerie Flechtheim. Mit zahlreichen Abbildungen. Berlin u. Düsseldorf, 1920-1930. Kl.-8°. Je illustrierte Original-Broschur. Enthält: Sommer 1920. 25. Juli bis 12. September 1920. - Das Problem der Generation. Die um 1880 geborenen Meister von Heute. I. Teil. Die Deutschen. 22. Juni bis Anfang August 1927. - Pablo Picasso. Zeichnungen, Aquarelle, Pastelle 1902-1927. 16. Oktober bis 10. November 1927. - Paul Klee. 18. März bis Ostern 1928. - Sommer 1929. - In Memoriam Juan Gris. Februar 1930. - Einbände mit leichten Alters- bzw. Gebrauchsspuren. Insgesamt überaus wohlerhalten. Selten. Collection of six rare catalogues from the Flechtheim Gallery. With numerous illustrations. Berlin and Düsseldorf, 1920-1930. Each illustrated original brochure. - Contains: see above. - Bindings with slight signs of age and wear. Overall very well preserved. Rare.
Lot 191
Pablo Picasso (1881-1973)Portrait de Jacqueline (Baer 1245; Bloch 923)Linocut printed in cream on black, 1959, signed in pencil, numbered from the edition of 50, printed by Arnéra, Vallauris, published by Galerie Louise Leiris, Paris, on Arches paper, with full margins, sheet 750 x 620mm (29 1/2 x 24 3/8in)
Lot 202
Pablo Picasso (1881-1973) after.Venus et l'amour voleur de miel (d'après Lucas Cranach l'Ancien)Lithograph printed in colours, circa 1957, signed in red crayon, with lithographed text verso, from the edition of unknown size, printed by Mourlot, Paris, on Arches paper, with full margins, sheet 756 x 560mm (29 3/4 x 22in) This lot has been imported from outside the United Kingdom 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 United Kingdom this duty can be refunded.
Lot 192
Pablo Picasso (1881-1973)L’Aubade avec Femme Endormie (Bloch 916)Linocut printed in colours, 1959, signed in pencil, one of 20 proofs reserved for the artist and publisher, aside from the edition of 50, published by Galerie Louise Leiris, Paris, printed by Arnéra, Vallauris, on Arches paper, with full margins, sheet 620 x 750mm (24 3/8 x 29 1/2in) Provenance:Succession Picasso; Maya Widmaier-Picasso; Acquired from the above by the present owner.
Lot 254
*AURELIO DE FELICE (1915-1996) 'Battaglia di Ragazzi', (Battle of the Boys), 1941, bas-relief panel, bronze, 100cm x 160cm, Note: This work is represented in the permanent collection of the Museo Aurelio De Felice, Terni, Umbria, Italy.De Felice was born in Torre Orsina, a small town on the hills around Terni. Of humble origins, he began his studies in contrast with his family at the Scuola Romana in the 1930s. He earned a degree at the Academy of Fine Arts of Rome, becoming a professor there. De Felice alternated lessons and artistic activity with many personal exhibitions. The most important in that period was the one in the Gallery of Rome, introduced by Renato Guttuso.At the end of the Second World War, De Felice started to travel across Europe. In those years he exhibited in Switzerland, Germany and France, where he created, in Paris, on behalf of the Italian Ministry of Foreign Affairs, the School of Italian Art. There he met Pablo Picasso, Fernand Léger, Jean Cocteau, Kees van Dongen, Ossip Zadkine, Mark Tobey and Constantin Brâncuși. He did not allow himself to be involved in the big debate between realism and formalism in the 1950s, continuing on his own road.In 1961 De Felice created the Institute of Arts in Terni. In those years he continued to exhibit all over Europe (Italy, Germany, Switzerland, France). In 1967 he was in charge of the Italian Institute of Culture in Hamburg and the Center of Italian Studies in Zurich.In 1977 he was invited to the National Museum of Modern Art, Tokyo, for a conference on Orneore Metelli, a "painter-shoemaker" from Terni, and father of the Naïve Italian movement, whose art had become famous thanks to De Felice's work.His last exhibition took place in 1982; after that, disease forced the sculptor to limit his activity. He spent the last years of his life in the quiet of his house on the hills of Torre Orsina, where he died on June 14, 1996.The celebrated Italian artist and politician Renato Guttuso (1911-1987) commented on the impact of the work offered here, in a letter to De Felice, remarking "I remember a work of yours from that time, a relief, which was your contribution to the approach of the two directions of research. The relief represents a battle. But a battle of boys. You had found the only possible poetic key (not heroic) to depict a battle! Even today, after twenty years, thirty years, reviewing your work, following its path, observing the changes, I find the same emotion in looking at your sculptures".
Lot 181
§ Pablo Picasso (1881-1973) A Los Toros, 1961the book comprising the set of four lithographs, one printed in colours, hors-texte, with title page and text in German, on wove from the unnumbered edition printed by Mourlot Frères, Paris, published by Andre Sauret, Monte Carlo, bound as issued and housed red slipcase26 x 33 x 3cmProvenance:Sale; Bonhams, 5 July 2017, lot 129Appears in very nice overall condition. The red slipcase with some minor knocks and edge damage. The book in clean and four lithographs in very nice, clean condition.
Lot 44
§ Pablo Picasso (1881-1973), Visage No.127, (Alain Ramie 478), 1963, the glazed white earthenware body painted in black and green, numbered 67/150, inscribed 'no. 127 Edition Picasso Madoura' on the underside25.5cm diameterThere is a glaze chip to rim and a small chip to footrim, otherwise condition is good.
Lot 1997
Picasso-Teller "Deux Danseurs" (Zwei Tänzer). Werkstatt Madoura, Georges und Suzanne Ramié. Prägemarke "Madoura Plein Feu" und "Empreinte Originale de Picasso", ohne Exemplar-Nummer. 1974. Vallauris, Frankreich. Entwurf: Pablo PICASSO (1881 Málaga - 1973 Mougins), 1956. In einer Auflage von 450 Exemplaren gefertigt. Fayence, schwarze Mattglasur, weiß engobiert. Ca. 25 x 25 cm. Quadratischer Teller mit gerundeten Ecken. Reliefdekor mit zwei tanzenden, stilisierten Figuren, umkränzt von Punkten und Strichen. Geklebter Bruch, partiell leicht berieben. Der spanische Künstler Pablo Picasso war einer der bedeutendsten Maler, Grafiker und Bildhauer des 20. Jahrhunderts. Er studierte in Barcelona und Madrid und lebte seit 1904 in Frankreich. Im provenzalischen Dörfchen Vallauris gestaltete und formte Picasso über einen Zeitraum von etwa 10 Jahren in der Werkstatt "Madoura" des Töpferehepaares Ramié verschiedenste Keramiken, nach deren Originalen eine Vielzahl von Repliken entstand. Literatur : Alain Ramié, Picasso, Cataloque de l`oeuvre céramique édité 1941-1974, Madoura, Abb. 380. Provenienz : Aus Thüringer Privatbesitz, in den 1970er Jahren in der Werkstatt Madoura, Vallauris gekauft. Aufrufzeit 25. | Okt. 2024 | voraussichtlich 10:51 Uhr (CET)Picasso plate "Deux Danseurs" (Two Dancers). Workshop Madoura, Georges and Suzanne Ramié. Mint mark "Madoura Plein Feu" and "Empreinte Originale de Picasso", without copy number. 1974, Vallauris, France. Design: Pablo PICASSO (1881 Málaga - 1973 Mougins), 1956, produced in an edition of 450 copies. Faience, black matt glaze, white engobed. Approx. 25 x 25 cm. Square plate with rounded corners. Relief decoration with two dancing, stylized figures, surrounded by dots and lines. Bonded break, partially slightly rubbed. The Spanish artist Pablo Picasso was one of the most important painters, graphic artists and sculptors of the 20th century. He studied in Barcelona and Madrid and lived in France from 1904. In the small Provençal village of Vallauris, Picasso designed and shaped a wide variety of ceramics over a period of around 10 years in the "Madoura" workshop of the Ramié pottery couple, after whose originals a large number of replicas were created. Literature : Alain Ramié, Picasso, Cataloque de l`oeuvre céramique édité 1941-1974, Madoura, fig. 380. Provenance : From a private collection in Thuringia, purchased in the 1970s from the Madoura workshop in Vallauris. Aufrufzeit 25. | Oct. 2024 | probably 10:51 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Lot 3108
PICASSO, Pablo (nach/after)(1881 Málaga - 1973 Mougins) "Grande Maternité"Farblithografie auf Arches-Bütten. Im Druck signiert. Blindstempel: Editions Combat de la Paix, Paris, Blindstempel: "Copyrigt S.P.A.D.E.M. Paris". Blatt: 65,2 x 50 cm. Nach einer Farbstiftzeichnung 1963. Etwas stockfleckig. Spanischer Maler, Grafiker und Bildhauer, zählt zu den bekanntesten Künstlern des 20. Jh.; Mitbegründer des Kubismus. "Wenn Kunstkritiker sich treffen, sprechen sie über Form, Struktur und Bedeutung. Wenn sich Künstler treffen, sprechen sie darüber, wo man preiswertes Terpentin kaufen kann." (Zitat: PP, https://beruhmte-zitate.de/autoren/pablo-picasso/). Aufrufzeit 26. | Okt. 2024 | voraussichtlich 10:53 Uhr (CET) PICASSO, Pablo (after/after)(1881 Málaga - 1973 Mougins) "Grande Maternité"Color lithograph on Arches laid paper. Signed in the print. Blindstamp: Editions Combat de la Paix, Paris, blindstamp: "Copyrigt S.P.A.D.E.M. Paris". Sheet: 65.2 x 50 cm. After a colored pencil drawing 1963. Some foxing. Spanish painter, graphic artist and sculptor, one of the most famous artists of the 20th century; co-founder of Cubism. "When art critics meet, they talk about form, structure and meaning. When artists meet, they talk about where to buy cheap turpentine." (Quote: PP, https://beruhmte-zitate.de/autoren/pablo-picasso/). Call time 26 | Oct. 2024 | probably 10:53 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Lot 3118
MOULY, Marcel(1918 Paris – 2008) Südliches Interieur mit zwei FrauenFarblithographie. Bleistiftsignatur unten rechts. Probedruck. Papier: 22 x 22 cm; Motiv: 19,5 x 20 cm. Gerahmt & hinter Glas : 40 x 40 cm. Szene in einem Innenraum mit zwei Damen bei Tee und geöffnetem Fenster. Französischer Maler, Umkreis von Pablo Picasso, Marc Chagall und Yves Klein. Aufrufzeit 26. | Okt. 2024 | voraussichtlich 10:58 Uhr (CET) MOULY, Marcel(1918 Paris - 2008) Southern interior with two womenColor lithograph. Pencil signature lower right. Proof print. Paper: 22 x 22 cm; motif: 19.5 x 20 cm. Framed & behind glass : 40 x 40 cm. Scene in an interior with two ladies having tea and an open window. French painter, circle of Pablo Picasso, Marc Chagall and Yves Klein. About 26 Oct 2024 | probably 10:58 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Lot 3123
MOULY, Marcel(1918 Paris – 2008) "Grünes Stillleben mit roter Flasche"Farblithographie. Bleistiftsignatur unten rechts. Probedruck. 19 x 19 cm. Gerahmt & hinter Glas : 42 x 41,5 cm. Stillleben mit Glas, Kanne, Flasche und Suppenterrine in einem grünen Raum. Französischer Maler, Umkreis von Pablo Picasso, Marc Chagall und Yves Klein. Aufrufzeit 26. | Okt. 2024 | voraussichtlich 11:01 Uhr (CET) MOULY, Marcel(1918 Paris - 2008) "Green still life with red bottle"Color lithograph. Pencil signature lower right. Proof print. 19 x 19 cm. Framed & behind glass : 42 x 41.5 cm. Still life with glass, jug, bottle and soup tureen in a green room. French painter, circle of Pablo Picasso, Marc Chagall and Yves Klein. Call time 26 | Oct. 2024 | probably 11:01 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Lot 3124
MOULY, Marcel(1918 Paris – 2008) StilllebenFarblithographie. Frankreich. Bleistiftsignatur unten rechts. E.A.. Motiv: 18,5 x 12,5 cm. Gerahmt & hinter Glas : 48 x 41 cm. Buntes Stillleben mit Gitarre, Flaschen, einem Obstkorb und einem Buch vor einem Fenster, in Lila- und Rosa-Tönen, Gelb und Schwarz. Französischer Maler, Umkreis von Pablo Picasso, Marc Chagall und Yves Klein. Aufrufzeit 26. | Okt. 2024 | voraussichtlich 11:01 Uhr (CET) MOULY, Marcel(1918 Paris - 2008) Still lifeColor lithograph. France. Pencil signature lower right. E.A.. Motif: 18.5 x 12.5 cm. Framed & behind glass : 48 x 41 cm. Colored still life with guitar, bottles, a fruit basket and a book in front of a window, in shades of purple and pink, yellow and black. French painter, circle of Pablo Picasso, Marc Chagall and Yves Klein. Call time 26 | Oct. 2024 | probably 11:01 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Lot 49
λ MARIE LAURENCIN (FRENCH 1883-1956) L'ESPAGNOLE Oil on paper laid to canvas, oval Signed (lower right) 53 x 43cm (20¾ x 16¾ in.)Provenance: Peter Meltzer, Canada, Private Collection, where purchased by Count Manfredi della Gherardesca Exhibited: Toronto, Art Gallery of Ontario, on loan in memory of Elise and David Meltzer, 1979 Literature: Daniel Marchesseau, Catalogue raisonne de L'oeuvre peint, Volume II, Paris, 1999, no. 1362 Marie Laurencin's exposure to avant-garde movements at the turn of the 20th century in Paris were integral to her artistic development and heavily influenced her journey to find her unique and distinctive style. Her relationship with the poet Guillaume Apollinaire and introduction to Georges Braque, Pablo Picasso and important figures of l'ecole de Paris introduced Laurencin to artistic movements such as Cubism and Fauvism. Laurencin rose to prominence in Paris as a notable figure within the Cubist group and exhibited with the Section d'Or at the Salon des Independents in 1910-11. Following this, Laurencin was represented by Paul Rosenberg from 1913-1940. Despite this, Laurencin remained on the periphery of Cubism and Fauvism borrowing elements of stylisation such as simplified lines and segmenting the subject into planes of colour and shapes but with her own interpretation and approach, the image remained realistic and immediately familiar. Her dreamlike colour palettes became integral to her work and this contrasted with piercing eyes conjures an emotional response, melancholic and erotic. Marie Laurencin's ethereal female figure of a Spanish lady fills the oval composition. Her elongated face is balanced by the dramatic head piece which drapes across her forehead. The viewer is immediately struck by the jet-black eyes which penetrate through the canvas. Laurencin has used her distinctive colour palette of muted colours, blue, pink and pastel tones juxtaposed against the bold black lines which appear to represent the figure's mantilla held high upon the head traditionally by a peineta. Laurencin was exiled to Spanish with her husband at the start of the First World War until 1919, it is possible that this period inspired the present lot. By 1920, Laurencin settled back in Paris and rose to prominence as an established portrait painter and illustrator. The strong female figures which sat at the heart of her subject matter were also the driving force behind her art. Laurencin strove to promote creativity and artistic endeavours amongst women in a male dominated society. Laurencin supported the Société des Femmes Artistes Modernes and exhibited with the group on several occasions between 1931-1938. The Marie Laurencin Museum was opened in Japan in 1983 becoming the first museum in the world dedicated to a female painter. Condition Report: Oil on paper laid to canvas. Evidence of old craquelure visible to the headdress and background. Ultraviolet light reveals infilling to the craquelure in addition to scattered spots of retouching throughout. Condition Report Disclaimer
Lot 182
▲ Pablo Picasso (Spanish, 1881-1973), 'Oiseau au Ver', (AR 172), a white earthenware ashtray with black oxide and white glaze, stamped and marked 'Edition Picasso', 16cm diameterThis design was conceived in 1952 and executed in an edition of 500.Condition ReportChip to rim and outer rim. Some rubbing. There is also small cip to the underside of the rim and to the underside of the base, commensurate with use. Some slight bubbling to pale blue glaze. There is also some faint black marks to the rim of the bowl again commensurate with use. Please see additional photos.
Lot 760
PABLO PICASSO Malaga 1881 - 1973 Mougins: Couple et petit Valet encadrés par une Portière. Blatt XXII aus der Folge zu Fernando Rojas, „La Célestine“. Aquatintaradierung 1968. Bloch 1657. Baer 1672, B, c (von C). - Von fremder Hand nummeriert „297/350“, eines von 400 Expl. (Gesamtaufl.) der Buchausgabe; Edition Crommelynck, Paris 1971. Mit dem seitenverkehrten Datum und der Nummer „III“ in der Platte. Auf leichtem chamoisfarbenen Vélin mit dem Wasserzeichen „La Célestine“. 12,2 x 8,8 cm. An den Ecke auf Unterlage montiert. [bg]
Lot 763
PABLO PICASSO Malaga 1881 - 1973 Mougins: Jean Cocteau et son Temps. Plakat zur gleichnamigen Ausstellung des Musée Jacquemart-André, Paris 1965. Photolithographie nach der 1916 entstandenen Zeichnung (Brustbild Jean Cocteau in Uniform im Dreiviertelprofil nach links) Picassos über beigefarbenem Grund bei Mourlot 1965. Czwiklitzer (dtv) 257. - Mit dem Namenszug, Datum und Widmung „à mon ami Jean Cocteau“ in der Darstellung sowie Druckeradresse und Plakattext. Auf Vélin. 70,9 x 48 cm. [ms]
Lot 771
PABLO PICASSO Malaga 1881 - 1973 Mougins: Réductions en Vignettes des Affiches créées par Picasso pour les Expositions de Vallauris de 1948 à 1958. Bogen mit den 17 von Picasso geschaffenen Plakaten in Verkleinerung (in zweifacher Ausfertigung, da gegenläufiger Druck) als Klebemarken. Farboffsetlihographie. Mit den zweifachen typographischen Drucker- (Imp. Arnéra, Vallauris) und Verlegeradressen (a.v.e.c, d.h. Association Vallaurienne d`Expansion Céramique) und zweizeiliger Bezeichnung „Réduction...“. Auf Vélin mit Perforationen und gummierter Rückseite. Je 4,4 x 3,5 cm (Blatt: 32,4 x 24,9 cm). Papierrand schwach fleckig und geringfügig berieben. [ms]
Lot 755
PABLO PICASSO Malaga 1881 - 1973 Mougins: Au Cirque. Kaltnadelradierung mit zartem Plattenton 1905/06. Bloch 9. Baer 11, c, Abdruck von der gestrichenen Platte. - Mit der seitenverkehrten Bezeichnung „Biffé le 31 Oct 1913“ in der Platte. Auf chamoisfarbenem Vélin. 22 x 14 cm. Mit schwachen Griffspuren sowie linke obere Ecke leicht bestoßen. [ms]
Lot 61
Esther Mahlangu (South African, born 1935)Abstract 2016 signed and dated 'ESTHER MAHLANGU 2016' (lower left under edge of canvas)acrylic on canvas50.5 x 70.5cm (19 7/8 x 27 3/4in).Footnotes:ProvenanceThe artist's studio;34FineArt, South Africa/London;Private collection, UK.ExhibitedLondon, BMW Pavilion, Frieze (2016).IllustratedEsther Mahlangu 80, Catalogue, (second edition) ISBN 9780620670319, p. 61(A copy of the catalogue will accompany the present lot).Through painting, Esther Mahlangu displays abstraction born out of the South African resistance culture which became free of didactic principles at the turn of the century. This new era of political liberty, given the release of Nelson Mandela and the legalisation of the African National Congress within politics, gave way to the ethos that conceptual art could be explored beyond the modal thematic examination of the human figure. This concept of the human experience, as Mahlangu explores, extends beyond the confines of the physical body, and is indeed entrenched in the historical and cultural fabric relative to identity. It is Esther Mahlangu's unique way of responding to colonial and Apartheid history that distinguishes her work in a post-Apartheid climate.Described by Ashraf Jamal as 'utopian', Mahlangu's art can be widely considered as a look to the future of South African aesthetics in what he argues is a step away from the dominating figurative aesthetic generated by South African artists. While her artistic practice is a clear display of the Ndebele traditional aesthetics, Jamal also observes that the influence of European minimalism and constructivism has been reclaimed by Mahlangu, given cubist artists such as Pablo Picasso appropriating traditional African aesthetics in developing such movements. It is Mahlangu's exploration of colour, surface, and line that acts as a liberating and progressive immaterial exploration of herself and her culture.Continuing to excel in her popularity and significance as an artist, Esther Mahlangu featured in Foreigners Everywhere, the main exhibition at this year's 60th International Art Exhibition, La Biennale di Venezia. Furthermore, a major retrospective exhibition of Esther Mahlangu's work titled, Then I Knew I Was Good at Painting: Esther Mahlangu, opened at the Iziko South African National Gallery in Cape Town in February 2024 and will continue to tour global museums throughout the year. Mahlangu recently held two international solo exhibitions in 2023 at Almine Rech Gallery in London and Paris. Mahlangu has most recently been honoured by BMW by presenting her oeuvre at Frieze London 2024 and has further unveiled her site-specific work 'Umuntu ngumuntu ngabantu' ('I am because you are') at the Serpentine North gallery in September 2024, running until September 2025.For further information on this lot please visit Bonhams.com
Lot 91
Pablo Picasso (Spanish, 1881-1973)"Garcon et Dormeuse a la Chandelle" - 1934Aquatint and etching on Montval laid paper. Pencil signed lower right. Appraised for $78,850 in 2021.Comes with COA from Martin Lawrence Galleries.Impression Size: 9.25 x 11.5 in.Overall Framed Size: 24.75 x 27 in.Framed behind glass.Garcon et Dormeuse a la Chandelle is one of 100 different etchings from the Vollard Suite (Plate 26), a series Picasso produced from 1930 to 1937 for Parisian publisher Ambroise Vollard. While over 300 sets were printed, complete suites are exceedingly rare, instead the prints from this series now are often found individually.The suite spans Picasso's passionate, sometimes tumultuous affair with his teenage model and muse Marie-Therese Walter. Many of the earlier works in the series portray a sculptor in his studio among his work?alluding to the classical myth of Pygmalion (see lot 263). The later prints become increasingly dark as both his relationship with Marie-Therese waned and Europe marched toward World War II.This particular print marks a turning point in Picasso's relationship with Marie-Therese, as it was created when Picasso learned that she was pregnant with his child in 1934. Her pregnancy marked the end of Picasso's then marriage to the Ballet Russe dancer Olga Koklova and also the beginning of the end for his relationship with his young model (just one year later he would meet Dora Maar?with whom Marie-Therese would become embattled over Picasso's affection).This print, however, portrays a tranquil scene of a sleeping woman (Marie-Therese); her fertile feminine features illuminated by candlelight, with a young man (likely intended to symbolize Picasso himself) sitting and thoughtfully watching her at rest. A single candle illuminating the scene creates a stillness and chiaroscuro reminiscent of Rembrandt's nocturnal scenes.The onset of World War II and the sudden death of the publisher Vollard in a car crash in the south of France in 1939 delayed the distribution of this major suite of etchings until the 1950s. Bloch 226; Geiser 440.
Lot 119
PAUL GAUGUIN (1848-1903)Autoportrait Pencil and black crayon on paper13.9 x 11.5cm (5 1/2 x 4 1/2in).Executed in Le Pouldu circa 1889-1890Footnotes:Please note that this work will be presented to the Comité Paul Gauguin at the Wildenstein Plattner Institute on 30 September 2024. ProvenanceMarie Henry Collection, Le Pouldu (probably acquired directly from the artist).Léa 'Mimi' Henry Collection, France (by descent from the above); her sale, Drouot, Paris, 16 March 1959, lot 114.Marlborough Fine Art, London, no. 02258 (probably acquired at the above sale).Fritz Gross Collection, London, no. 396 (acquired from the above in November 1960).Private collection, London (by descent from the above).ExhibitedLondon, Marlborough Fine Art, XIX and XX Century European Masters, Paintings, Drawings, Sculpture, Summer 1959, no. 23.Paris, Galerie Charpentier, Cent oeuvres de Gauguin, 1960, no. 64.Munich, Haus der Kunst, Paul Gauguin, 1 April - 29 May 1960, no. 89.Newcastle, Hatton Gallery, Impressionist and Modern: The art and collection of Fritz Gross, 11 May – 9 June 1990, no. 18 (later travelled to Oxford).LiteratureR. Nacenta, 'Gauguin', in Art et style, no. 55, 1960 (illustrated). K. Mittelstädt, Paul Gauguin, Self-portraits, Oxford, 1968, no. 17 (illustrated p. 61).Autoportrait is strongly tied to Paul Gauguin's time in Le Pouldu, a secluded coastal village in Britanny where the artist sought refuge in August 1889. Fleeing the commercialisation of Pont-Aven, Gauguin found a creative sanctuary at Buvette de la Plage, an inn run by Marie Henry (1859-1945) in the village. Along with Meijer de Haan (1852-1895) – whom Gauguin humorously referred to as his 'pupil' in his letters – the inn became a vibrant artistic hub, with its dining room transformed by murals and artworks executed by the two artists, which are still observable today. Marie Henry, who later became de Haan's lover, retained some of Gauguin's works, likely as compensation for his stay, as Gauguin had been living on credit. Passing thence by descent through the Léa 'Mimi' Henry Collection, this piece was subsequently acquired by Fritz Gross (1895-1969), the Austrian artist, architect and art collector. Gross, who escaped Nazi rule and moved to London in 1938, built an impressive collection of Impressionist and Modern art, including pieces by Gauguin, Pablo Picasso, Edgar Degas, Pierre-Auguste Renoir and Henri de Toulouse-Lautrec. His passion for collecting was celebrated in an exhibition dedicated to his collection held at the Ashmolean Museum in 1990.Autoportrait highlights the significance of Le Pouldu to Gauguin's creativity and self-exploration. In a letter to Émile Bernard during the winter of 1889, Gauguin expressed his desire to reinvent himself, stating: 'I hope that this winter you will find in me a new Gauguin... What I am trying to get at is a corner of myself which I do not yet understand' (M. Malingue, Paul Gauguin: Letters to his Wife and Friends, 2003, p. 122). His depiction in simple, native Breton attire reflects this quest for self-discovery and the incorporation of the local culture into his identity.For further information on this lot please visit Bonhams.com
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