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Click here to subscribePicasso, Paloma (geb. 1949 Vallauris) Besteck für sechs Personen, Modell "Pearl", 42-teilig. Edelstahl. Bestehend aus: Je sechs Messern, Gabeln, Suppenlöffeln, Kaffeelöffeln, Kuchengabeln, Fischmessern und Fisch-. L. Gebrauchsspuren. Ausführung Villeroy & Boch, Ende 20. Jh. L. ca. 13,5 bis 23 cm.
* ALAN DAVIE CBE RA HRSA RWA (SCOTTISH 1920 - 2014) MAGIC PICTURE NO. 1 limited edition lithograph on paper, signed and numbered 299/500framed and under glassimage size 55cm x 75cm, overall size 95cm x 85cm Note: Scottish painter, trained as a painter at Edinburgh College of Art from 1938 to 1940, initially favouring poetic imagery and coming into contact with modernism at exhibitions held in London of works by Picasso (1945; V&A) and Paul Klee (1945; Tate). He explored a diverse range of activities, however, before returning to painting from 1949 to 1953 he earned his living by making jewellery and in 1947 he worked as a jazz musician, an activity he continued in later life. He wrote poetry during the early 1940s. From 1953 to 1956 Davie taught in London at the Central School of Arts and Crafts, where he became interested in African and Pacific art. As early as 1958 Davie emphasised the importance in his work of intuition, as expressed in the form of enigmatic signs. During the 1960s, both in paintings and in coloured lithographs, he represented such images with increasing clarity at the expense of gestural handling. In 1971 he made his first visit to the island of St Lucia, where he began to spend half of each year and which brought Caribbean influences to bear on his suggestive imagery, as in Bird Gong No. 10, Opus 730 (1973; London, Brit. Council). Taking on the role of a disinherited shaman, Davie created a synthesis of mythologies from a variety of cultures for a modern civilisation devoid of its own village myths.
André Derain, 1880 – 1954RAYMONDE, 1934Öl auf Leinwand.41 x 33,5 cm.Rechts unten signiert.In Louis XV-Stilrahmen mit Textilausschnitt.Beigegeben eine Expertise des Comité André Derain vom 27. September 2021.Nach dem Ersten Weltkrieg widmete sich Derain einer realistischen Malerei mit schweren, ernsten Farben und klaren gegenständlichen Formen. Ab den 1920er Jahren beschloss er, sich einen Platz in der großen Tradition der französischen Malerei zu suchen. Die Ende der 1920er/ Anfang der 1930er Jahre gemalten Gemälde sind an Camille Jean-Baptiste Corot (1796-1875), Gustave Courbet (1819-1877) und Paul Cézanne (1839-1906) angelehnt und auch das vorliegende Portrait ist in seiner Farbpalette letzterem verpflichtet. Vor unbestimmtem beigem Grund das nach rechts gewandte Brustportrait der Raymonde Knaublich, Derains Modell und Geliebte, die ihm 1939 den gemeinsamen Sohn André-Charlemagne Derain (1939 -1992), genannt Boby, schenkte.André Derain war ein französischer Künstler. Er war neben Henri Matisse (1869-1954) Hauptvertreter des Fauvismus und wird zu den ersten Malern der klassischen Moderne gezählt. Zeitweilig wurde er als führender Kopf der französischen Avantgarde angesehen und stand in engem Kontakt zu den Kubisten Pablo Picasso (1881-1973) und Georges Braque (1882-1963).Provenienz: Björn Prytz (Schwedischer Gesandter in London während des 2. Weltkrieges, Abgeordneter des schwedischen Parlaments).Von dort durch Vererbung an Vorbesitzer. (1420481) (13)André Derain, 1880 – 1954RAYMONDE, 1934Oil on canvas.41 x 33,5 cm.Signed lower right.Accompanied by an expert’s report by the Comité André Derain, dated 27 September 2021.Provenance: Björn Prytz (Swedish envoy in London during the Second World War, member of the Swedish parliament).From there by inheritance to previous owner.
Gustave Courbet, 1819 Ornans – 1877 La-Tour-de-Peilz,und WerkstattSONNIGE WALDLANDSCHAFT MIT WASSERFALLÖl auf Leinwand.46 x 59,5 cm.Links unten signiert „G. Courbet“. Verso auf dem Keilrahmen mit Etikett der Ausstellung und einer Nummerierung „211“ sowie dem Rest eines alten Etiketts, unten am Keilrahmen Namensnennung.In durchbrochen gearbeitetem und vergoldeten Holzrahmen.Beigegeben ein ausführliches Gutachten von Prof. Dr. Klaus Herding, Frankfurt, 18. Oktober 2003 in dem er zu dem Schluss kommt, dass es sich um ein im wesentlichen eigenhändiges Gemälde Courbets aus der Mitte der 1860er Jahre mit späteren Retuschen und Übermalungen handelt. „Verbessert sich der Befund im unteren Teil des Gemäldes durch Restaurierung, würde der Marktwert des Gemädes kaum unter 90.000 €, eher bei 140.000 € liegen, was aber von Marktschwankungen abhängt“.Des Weiteren ist eine Bestätigung über die Restaurierung durch Brigitte von Hammerstein vom 9. Dezember 2005 beigegben.Ein von Steinen gesäumter Bachlauf empfängt seine Beleuchtung durch eine Lichtung, die sich durch um ihn herum angeordnete natürlich gewachsene Buchen ergibt. Diese führen hin zu einer verdunkelten Stelle von erhabenen Steinen, von denen sich das Weiß eines Wasserfalls farblich abhebt, der über mehrere Stufen in den Vordergrund dem Betrachter entgegenfließt. Der hügelige Waldboden ist mit unterschiedlichem Bewuchs dargestellt und endet für den Betrachter links oben in einer lichten Himmelsahnung, die vom Grün der jungen Baumkronen benommen ist, rechts in einem Dickicht von dunklerem Grün. Vom Bodenbewuchs sind in der rechten Bildhälfte im Mittelgrund gelbe Blüten auf hohen Stängeln erkennbar, vermutlich Johanniskraut. Die leicht gelbliche Verfärbung einzelner Blätter lässt auf eine frühherbstliche Stimmung schließen. Dr. Herding bestätigt, dass derartige Waldlandschaften mit Gesteinsbrocken, Wasserfällen und summarischen Gras- und Laubangaben das Werk Courbets dominieren. Ebenso ist die Lichtbrechung der großen Bäume, die Auflösung von Farbflächen in Farbflecken, die nachträgliche Abnahme (Abschabung) von Farben, der unvermittelte Auftrag von frischen, ungemischten, der Gesamtstimmung nicht angepassten Farbtupfern, sowie die Farbe und Schriftzug der Signatur als charakteristisch einzuordnen.Provenienz:Sammlung Ulrich Voit, Hamburg.Sammlung Prof. Dr. Lutz, Braunschweig, von diesem an die Ausstellung in Wolfsburg verliehen.Erwerb laut Gutachten von einer preußischen Prinzessin am Ende des Zweiten Weltkrieges.Anmerkung:Ein vergleichbares Gemälde befindet sich in der National Gallery, Washington in: Courbet artiste et promoteur de son oeuvre, Ausstellungskatalog Lausanne, 1999, S. 91.Literatur:Vgl. Stadthalle Wolfsburg, Französische Malerei von Delacroix bis Picasso, 8. April - 31. Mai 1961, Ausstellungskatalog, 1961.Vgl. Klaus Herding, Gustave Courbet, Die Woge, in: Impressionisten. Sechs französische Meisterwerke. Zugleich auch Ausstellungskatalog: Musée d‘Orsay, Paris, Impressionnistes. Six chefs d‘oeuvre prêtés par Francfort, 16. Februar - 30. Mai 1999, Frankfurt am Main, 1999, S. 16 - 29. Vgl. Klaus Herding, Farbe und Weltbild, in: Courbet und Deutschland, Ausstellungskatalog Hamburger Kunsthalle und Städelsches Kunstinstitut, Köln 1978, S. 478 ff. Vgl. Robert Fernier, Gustave Courbet, Catalogue Raisonné I / II, Lausanne/ Paris 1977 – 1978, dort nicht enthalten jedoch mit vergleichbaren Motiven: Bd. I: Nr. 195, 329, 386, 388, 466, 477; Bd. II: Nr. 633, 848, 856, 857, 861, 970.Ausstellungen:Laut Etikett verso in: Französische Malerei von Delacroix bis Picasso, 8. April - 31. Mai 1961, Wolfsburg, wohl außerhalb des Kataloges. Zu der Ausstellung wurde am 27. April 1961 in der Nordschau des Norddeutschen Rundfunks ein Bericht gezeigt. (1420023) (13)Gustave Courbet,1819 Ornans – 1877 La-Tour-de-Peilz, and workshopSUNNY FOREST LANDSCAPE WITH WATERFALL Oil on canvas.46 x 59.5 cm.Signed “G. Courbet” lower left. Label of an exhibition with no. 211 and remains of an old label and artist's name on the back of the stretcher. Accompanied by a detailed expert’s report by Professor Dr Klaus Herding, Frankfurt, 18 October 2003. The report concludes that this is essentially a painting by the artist's own hand created in the mid-1860s with later retouching and overpainting. Accompanied by a confirmation regarding its restoration by Brigitte von Hammerstein dated 9 December 2005. Exhibitions: Französische Malerei - von Delacroix bis Picasso, 8 April - 31 May 1961, Wolfsburg. A report on the exhibition was aired on 27 April 1961 in the Nordschau of the Norddeutscher Rundfunk.Provenance: Ulrich Voit collection, Hamburg. Professor Dr Lutz, Braunschweig collection, on loan at the exhibition in Wolfsburg. According to the report acquired from a Prussian princess at the end of the Second World War.
PABLO PICASSO (1881-1973)Le peintre et son modèle signé et daté '21.5.70 Picasso' (en haut à droite) ; daté '21.5.70' (au revers)plume et encre sur cartonExécuté le 21 mai 1970signed and dated '21.5.70 Picasso' (upper right) ; dated '21.5.70' (on reverse)pen and ink on paperExecuted on May 21st 197027.8 x 21.9 cm. 10 15/16 x 8 5/8 in.Footnotes:ProvenanceSala Gaspar, Barcelone.Collection partculière, France (acquis en 1971).Collection partculière, Paris (par descendance). ExpositionBarcelone, Sala Gaspar, Picasso pintura dibujo, no. 16 (illustré np.).BibliographieC. Zervos, Pablo Picasso, Vol. 32, Oeuvres de 1970, Paris, 1977, no. 77 (illustré p. 34).Le Peintre et son modèle de Pablo Picasso, réalisé en 1970, est une œuvre qui illustre parfaitement l'obsession de l'artiste pour la relation entre le créateur et sa muse. Dans ce dessin, Picasso utilise des formes géométriques et des plans différents pour exprimer la dynamique entre le peintre et sa muse.Le personnage du peintre, souvent interprété comme un reflet de lui-même, se tient à droite du dessin, tandis que le modèle, figure féminine prédominante, à gauche, est à la fois l'objet de son regard et une partie intégrante de son processus créatif. Les traits arrondis et triangulaires et les perspectives déformées du modèle soulignent la complexité de la relation artistique.Picasso utilise un contraste stylistique entre les traits du peintre, dessiné de façon plus classique, et ceux du modèle, dans lesquels on reconnaît la touche cubiste, avec des formes disproportionnées, inversées ou déséquilibrées. Le modèle se cache le visage à l'approche du pinceau vers son buste. Son œil et son sourire, timides et amusés, transparaissent entre ses mains, créant un décalage avec le visage sérieux et concentré du peintre. Seules les mains de ce dernier s'agrandissent de façon disproportionnée lorsqu'elles s'approchent du modèle.Ce dessin évoque également les thèmes de l'intimité et de la vulnérabilité. La femme, bien que représentée de manière stylisée, semble à la fois exposée et puissante, mettant en lumière le contraste entre l'artiste et son sujet. En choisissant des lignes audacieuses, Picasso capte l'énergie et la passion qui animent cette interaction.En somme, Le Peintre et son modèle est une réflexion sur le processus créatif, la perception et la connexion entre l'artiste et son sujet, un thème cher à Picasso tout au long de sa carrière.Pablo Picasso's Le Peintre et son modèle created in 1970, is a work that perfectly illustrates the artist's obsession with the relationship between the creator and his muse. In this drawing, Picasso uses geometric shapes and different planes to express the dynamic between the painter and his muse.The painter's figure, often interpreted as a reflection of himself, stands on the right of the drawing, while the model, a predominantly female figure, on the left, is both the object of his gaze and an integral part of his creative process. The model's rounded, triangular features and distorted perspective underline the complexity of the artistic relationship.Picasso used a stylistic contrast between the painter's features, drawn in a more classical manner, and those of the model, in which we can recognise the Cubist touch, with disproportionate, inverted or unbalanced shapes. The model hides her face as the brush approaches her bust. Her eyes and smile, shy and amused, show through her hands, creating a discrepancy with the painter's serious, concentrated face. Only the painter's hands grow disproportionately large as they approach the model.The drawing also evokes themes of intimacy and vulnerability. The woman, though depicted in a stylised way, seems both exposed and powerful, highlighting the contrast between the artist and her subject. By choosing bold lines, Picasso captures the energy and passion that drive this interaction.In sum, The Painter and His Model is a reflection on the creative process, perception and the connection between artist and subject, a theme dear to Picasso throughout his career.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Maywald, Willy -- Pablo Picasso. 1947. Gelatin silver print, printed 1989. 31 x 29 cm. Estate stamp and "Griffelkunst" edition stamp, annotated by another hand in pencil, signed by Jutta Niemann in ink on verso. Corners slightly bumped, small creases in lower right corner, otherwise in good condition. Lit.: Willy Maywald. Die Splitter des Spiegels. Eine illustrierte Autobiographie. Munich 1985, ill. 57.
Pabel, Hilmar -- Album of reportage photos taken on various trips by Hilmar Pabel. Late 1950s/early 1960s. 48 vintage ferrotyped gelatin silver prints. Each circa 23 x 17 cm, 17 x 17 cm and 17 x 13 cm. Mounted on album pages, bound in contemporary green cloth album (slightly soiled, spine minimally faded). First page with handwritten dedication by Hilmar Pabel to his father for his 75th birthday in ball-point pen, signed and dated "1961". Hilmar Pabel was the first German reportage photographer to receive the “Kulturpreis für Photographie” in 1961. This album features an extraordinary collection of images from Pabel’s travels to various countries, including Saudi Arabia, where he captured King Saud and his favorite son, Prince Mashhur, as well as the wedding of King Hussein of Jordan and his English-born wife, Princess Muna, along with intimate family moments. The collection also includes photographs from Pabel’s trip to Africa, Pablo Picasso at the bullfights in Spain, and a renowned image of John F. Kennedy, Jacqueline Kennedy, Nikita Khrushchev, and his wife at a reception in Vienna in 1961. Many of these images have become iconic in the field of reportage photography. – Most photos in very good condition.
Pablo Picasso1881 Malaga - 1973 MouginsLes deux modèles nus. 1954Rechts unten mit Bleistift signiert. Lithographie auf Velin (Wasserzeichen Arches). Ex. 29/50. 58 x 38 cm. Blattgröße: ca. 65 x 50 cm. In guter Erhaltung. Rahmen (102 x 80 cm), nicht ausgerahmt.Werkverzeichnis: Mourlot 256. Bloch 762Provenienz: Privatsammlung Süddeutschland
Φ Pablo Picasso (Spanish 1881-1973)Square head of a man; Round head of a man with mismatched eyes; Round headThree, each drypoint, from Carmen, plates 31, 16 and 17, from the unsigned edition of 320, 1949Each 32.2 x 25.1 cm (sheet) (3)Provenance:Two with Wiseman Originals, London, November 1994
Φ Lydia Corbett (née Sylvette David, b.1934)LucieSigned Lydia Corbett (lower right) and Sylvette David (lower left)Pen and black ink, and watercolour44 x 34.9cmProvenance:Fosse Gallery, John Lindsey Fine Art, Stow-on-the-WoldLydia Corbet, born Sylvette David, was the muse for a landmark series of works that Pablo Picasso made in the spring and summer of 1954.
Φ Lydia Corbett (neé Sylvette David, b.1934)Sylvette with the Sun FlowersSigned Lydia Corbett (lower right) and Sylvette David (lower left)Pen and black ink, watercolour, and gold pen49.6 x 39.5cmProvenance:Fosse Gallery, John Lindsey Fine Art, Stow-on-the-WoldLydia Corbet, born Sylvette David, was the muse for a landmark series of works that Pablo Picasso made in the spring and summer of 1954.
Φ Lydia Corbett (née Sylvette David, b.1934) The Colander Still Life Signed Lydia Corbett (lower right) and Sylvette David (lower left) Pen and black ink and watercolour 39.8 x 49.3cm Provenance: Fosse Gallery, John Lindsey Fine Art, Stow-on-the-WoldLydia Corbet, born Sylvette David, was the muse for a landmark series of works that Pablo Picasso made in the spring and summer of 1954.
Φ Lydia Corbett (née Sylvette David, b.1934)Hydrangea CatSigned Lydia Corbett (lower right) and Sylvette David (lower left)Pen and black ink, watercolour, and gold pen49.5 x 39.8cmProvenance:Fosse Gallery, John Lindsey Fine Art, Stow-on-the-WoldLydia Corbet, born Sylvette David, was the muse for a landmark series of works that Pablo Picasso made in the spring and summer of 1954.
Kochno,B.: Le Ballet. Paris, Hachette 1954. Gr.4°. ╔Mit 1 Orig.-Farblithogr. v. Picasso╗ u. zahlr., tls. farb. Abb. 378 S., 3 Bl. Illustr. Olwd. mit Orig.-Transparentumschl. Bloch 767 u. Livre 67. - Die Farblithographie schuf Picasso eigens für diese Ausgabe. Druck der Lithographie bei Mourlot.
PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. An unusual vintage signed and inscribed colour picture postcard by Picasso, the image, entitled Joies et plaisirs de la Cote-d´Azur, being a photomontage of a blonde pin-up girl wearing a bikini and sitting in a full-length pose with her legs outstretched on a diving board against a backdrop of the bay of Cannes featuring palm trees, golden sandy beaches and hotels etc. Signed by Picasso in bold blue fountain pen ink to a light area of the image, ´Pour Raoul Pellequer, son ami, Picasso´. The verso of the postcard features an A.L.S., Max, by Max Pellequer, n.p. (Cannes), 1st February 1959, to his brother Max, in French. Pellequer writes, in full, ´C´est Picasso qui a voulu choisir cette carte pour toi. C´est la raison pour laquelle je te l´envoie avec mes plus effectues pensees et mes regrets de ne pas vous avoir aupres de nous dans ce pays si plein de bons souvenirs qui a aussi invente la bouillabaisse, que nous avons degustee malheureusement sans vous´ (Translation: ´It was Picasso who chose this card for you. That's why I'm sending it to you with my deepest thoughts and my regrets at not having you with us in this country so full of good memories, which also invented the bouillabaisse, which unfortunately we tasted without you´). The letter is also signed (with their first names) by Francine Pellequer, Jacqueline Roque, the French model, muse and second wife of Picasso, and also by Pablo Picasso himself with a bold black ink signature (´Picasso´). An attractive example of Picasso´s autograph, enhanced by a letter with interesting association. VGMax Pellequer (1903-1973) French banker and art collector who would become Picasso´s private banker, financial adviser and close friend. Pellequer assembled an important collection of artworks in the 1920s and 1930s which included a number of significant early pieces by Picasso, as well as works by Paul Cezanne, Edgar Degas, Paul Gauguin, Henri Matisse, Joan Miro and others. Almost two hundred letters from Pellequer to Picasso are preserved in the Musee National Picasso in Paris.
PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. An extraordinary collective illustrated A.L.S. by Picasso and his circle of friends, four pages, 8vo, Cafe de Flore, Paris, 15th January 1936, to Paul and Nusch Eluard, in a mixture of French, Spanish and Catalan. The scene for this meeting of great artistic talent is set at the head of the first page in the hand of Yvonne Zervos, 'l'heure de la soupe a l'oignon, Mercredi, 15 Janvier 1936, Cafe Flore' (Translation: 'Time for onion soup.....') beneath which Picasso writes 'Recuerdos a la blanquita, Picasso' (Translation: 'Regards to the white girl, Picasso'), and over the four pages follows a wonderful series of autograph sentiments and messages to Paul and Nush Eluard, beginning on the first page with Luis Fernandez 'Viva tu madre chiquita!! Ole, Ole, caramba!!......Baxant de la font del gat una noia, una noie, baxant de la font del gat una noia y Eluard si pregunta com se diu Marieta, Marieta, si pregunta com se diu marieta del ull vin! Com vos deia Fontanellas lo rei esta molt fotut! Lo qui gui a ens ha sigut es un manso sense equellas.....Fernandez' (written in multiple passages to the first and fourth sides of the bifolium in Catalan, roughly translated as 'Long live your little mother!! Ole, Ole, dammit!!......A girl coming down from the cat's fountain, a girl, a girl coming down from the cat's fountain and Eluard if you ask what Marieta's name is, Marieta, if you ask what Marieta's name is from the eye wine! As Fontanellas told you, the king is very fucked up! The one who guides us has been a meek man without them', and signed twice), Roberta Gonzalez 'Yo tambien, Roberta Gonzalez' (Translation: 'Me too'), Esther Fernandez her signature followed by the sentence 'Ne pas oublier la tarjeta postal con una vaca espanola' (Translation, from a mixture of French and Spanish, 'Don't forget the postcard with a Spanish cow'), Julio Gonzalez 'Ballen la Gardana, J. Gonzalez' (Translation from Catalan 'They dance the Gardana'), and also signed a second time with his name alone to the first page, Yvonne Zervos 'Los abrazo a los dos, Yvonne, Cafe Creme' (Translation: 'Hugs to you both....'), Jaime Sabartes 'mas recuerdos, J Sabartes' (Translation: 'More memories....'), Christian Zervos 'Un gros baiser a (?) malgre le rouge. Christian' (Translation: 'A big kiss to the (?) despite the red.....') and also with two further messages across other pages, 'On aimerait quand meme que vous soyiez avec.....de Flore chez Graff avec un arriere petit de gratinee Zervos, Man Ray attendez-moi!....... J'espere que vous reverrez la seine et la reste' (Translation: 'We'd still like you to be with .....de Flore at Graff with a little gratinee Zervos, Man Ray wait for me!...... I hope you'll see the Seine and the rest of it again') and '......Prononcez bien Vendredi les oveilles amies vous enconteront et moi je penserai aux bons moments passes a Vicozere, Chris. Zervos' (Translation: '.......Get the pronunciation right Friday, the friendly ears will greet you and I'll be thinking about the good times at Vicozere'), to the second page Yvonne Zerbos writes a further message, ‘Nous pensons toujours a vous vous etes, toujours avec nous. Man est tres triste!!!!! nous aussi Yvonne. Vendredi criez tres fort........Cafe Crème. Monte la dessus et tu verras Montmartre et le cafe Flore’ (Translation: ‘We are always thinking of you, you are always with us. Man is very sad!!!!! us too Yvonne. Friday shout out loud........Cafe Crème. Go up there and you'll see Montmartre and the cafe Flore’), as does Luis Fernandez once more in Catalan ‘Vina Ros! Puja aqui dalt!.....Bona nit tinguem!! estiguem bonets!!.....’ (Translation: ‘Come Ros! Get up here!.....Have a good night!! let's be nice!!.....’), alongside which Dora Maar has drawn an exquisite pen and ink image of an eye with two teardrops falling from the corner, adding the words ‘Devinez de qui?’ (Translation: ‘Guess who?), which is followed by a second greeting signed by Jaime Sabartes ‘Saluda a los del centro excursionista de Catalunya a la lliga regionalista......y todos los que encuentre por la Ramblas’ (Translation from Catalan: ‘Say hello to those at the hiking centre from Catalonia to the regionalist league…..and everyone you find on the Ramblas’), the third page features entries by Leonor Fini ‘Vous aimez toujours et les gros porcs tendres……..? Vous en avez vu des noirs en Espagne? Leonor’ (Translation: ‘Do you still like big, tender pigs……..? Have you seen any black ones in Spain?’) and also signed by Fini with her first name only to the right margin of the first page, Man Ray ‘C'etait triste de rentrer tout seul lundi soir de V- Beziers! Je vous embrasse tous les deux, et j'espere vous trouverez des bons amis et amies! Affectueusement, Man’ (Translation: ‘It was sad to come back alone on Monday evening from V- Beziers! Love to you both, and I hope you find some good friends! Affectionately….’), and at the foot of the page Pablo Picasso has drawn and signed a pen and ink image of a winged love heart, also incorporating the horns of a bull, and with a Cupid’s arrow piercing through the centre from right to left, signing his name (‘Picasso’) in bold black ink beneath. A series of ink hatched lines also appear beneath the drawing, partially obscuring the signature of Dora Maar. The page concludes with a series of ten question marks in the hand of Roberta Gonzalez, and with her signature beneath. The letter ends with a final message signed by Yvonne Zervos at the foot of the fourth page, ‘Cora et Elfe vous embrasse chaque jour je forme au voeux pour que vous soyiez tous les deux tres heureux la-pas!!! Yvonne. Pikina aux vins de France fabrique par Picon et cie’ (Translation: ‘Cora and Elfe kiss you every day and I hope you're both very happy! Yvonne. Pikina with French wines made by Picon and company’). Accompanied by the original envelope hand addressed by Christian Zervos to the Eluards in care of the home of Josep Maria Sert in Barcelona, and further annotated and signed by Man Ray with his initials to the verso, ‘avec la salive de C.Z. (M.R.)’ (Translation: ‘With the saliva of C.Z…..’). A truly exceptional and magnificent autograph letter, beautifully enhanced by the drawings (which could indeed be interpreted as ‘self-portraits’) in the hands of Pablo Picasso and his lover, Dora Maar. Some very light, extremely minor age toning, VG OWING TO LIMITATIONS IMPOSED BY THE SALEROOM THE COMPLETE DESCRIPTION FOR THIS LOT CAN NOT BE DISPLAYED - PLEASE CONTACT IAA EUROPE DIRECTLY FOR FURTHER INFORMATION.
PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. A small 8vo printed exhibition catalogue for Pablo Picasso 1950-1953 at the Curt Valentin Gallery in New York, 24th November - 19th December 1953, the exhibition comprising sixty-five oil paintings, sculptures, ceramics, lithographs and aquatints by Picasso, a number of them illustrated in monchrome within the catalogue, which also features a brief passage of text by Stephane Mallarme (on Manet, 1874) and an essay entitled Picasso Good Master of Liberty by Paul Eluard (translated from the French by Roland Penrose). Across the recto of the front free endpaper and title page Picasso has drawn a wonderful image of a colourful fish, executed in orange, green, blue, yellow and black crayons and signed (´Picasso´) by the artist in blue crayon to the base of the title page, also adding the date, 2nd March 1954, in his hand alongside his signature. Bound in the original yellow and black printed paper wrappers. A superb and highly attractive original drawing signed by Picasso. Some very light, extremely minor age wear, VGPicasso´s drawing of the fish is very reminiscent of a ceramic design he created in 1951 entitled Poisson de profil (´Fish in Profile´).
PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. A wonderful vintage signed and inscribed 9 x 11 photograph by Picasso, the image depciting the artist a little untidily dressed in a suit jacket, shirt and tie and with a lit cigarette in one hand. Photograph by Rogi Andre and bearing her ink credits to the verso. Signed by Picasso in fountain pen ink to the upper edge of the image with an inscription in French, ´Pour mon ami Jakovsky, Picasso´. A striking signed portrait of Picasso by a significant photographer. A few very light, minor surface and corner creases, VGRogi Andre (1900-1970) Hungarian-born French photographer and artist, the first wife of photographer Andre Kertesz. During the 1930s Andre produced a pantheon of portraits of many individuals associated with the arts in Paris, some of which are today held in the collection of the Museum of Modern Art in New York.
STRAVINSKY IGOR: (1882-1971) Russian Composer and Conductor. A lengthy and extremely interesting content early autograph letter by Stravinsky, with good association, A.L., three pages, large 4to, Morges, Switzerland, 23rd March 1920, to Vassili Kibalchich, in Cyrillic. Stravinsky writes to Kibalchich, director of Russian choir, who had directed the premiere a year earlier of Starvinsky´s work Quatre chants paysans russes ("Four Russian peasant songs"), and asks for news from his Swiss exile about musical events, asking for his copy of the score of his work `Les Noces´ ("The Wedding"), stating in part `J´ai un besoin urgent de cet exemplaire. Je vous le renvoie en automne si nécessaire. J´en ai besoin pour arranger le piano-chant pour le spectacle. Comment allez-vous me le faire parvenir? Par la poste ordinaire c´est risqué, on peut le perdre...´ (Translation: "I urgently need this copy. I will send it back to you in the fall if necessary. I need it to arrange the piano-vocals for the show. How will you send it to me? By regular mail it is risky, we can lose it...") Further Stravinsky refers to the staging of his works, to Diaghilev and to his day by day work and projects, saying `Nous avons une saison très importante en Mai à l´Opéra de Paris. Diaghilev monte Le Soldat mais sans le chant - choréographiquement. Je termine Pulchinella que je compose sur la musique de Pergolese. C´est une grande oeuvre, nous avons beaucoup de travail´ (Translation: "We have a very important season in May at the Paris Opera. Diaghilev is staging Le Soldat but without the singing - choreographically. I am finishing Pulchinella which I am composing to the music of Pergolese. It is a great work, we have a lot of work") Further again, Stravinsky mentions his personal situation in Switzerland, complaining about the cost of life and considering moving to Italy, and also comments on the recent performances, stating in part `Le Franc Suisse bat un record et la vie ici en Suisse est deux fois plus chère... racontez-moi vos projets avec l´opéra? Et pensez-vous avoir un choeur, c´est important pour moi de le savoir... On montait [`a Paris] le Chant du Rossignol, dirigé par Ansermet que Diaghilev a fait venir spécialement pour cette occasion. La musique a eu un grand succès qui sera immense en fin de saison...´ (Translation: "The Swiss Franc is at a record high and life here in Switzerland is twice as expensive... tell me about your plans with the opera? And do you plan to have a choir, it is important for me to know... The Song of the Nightingale was being staged [in Paris], conducted by Ansermet, whom Diaghilev had brought especially for this occasion. The music was a great success, which would be immense at the end of the season... ") Very small minor age wear, mostly to edges, and very few extremely small ink holes to the third page only, otherwise G to VGSergei Diaghilev (1872-1929) Russian ballet impresario, founder of the Ballets Russes. Ernest Ansermet (1883-1969) Swiss Conductor and Musicologist. A close friend and collaborator of Stravinsky. Ansermet introduced Charles-Ferdinad Ramuz to Stravinsky, and their long time fruitful collaboration gave birth to what most critics consider his masterpieces, The Wedding and L´Histoire du Soldat which was premiered in Lausanne in 1918 and conducted by Ansermet.The Wedding is a Russian-language ballet-cantata by Stravinsky scored unusually for four vocal soloists, chorus, percussion and four pianos. Dedicating the work to impresario Sergei Diaghilev, the composer described it in French as "choreographed Russian scenes with singing and music" and it remains known by its French name of Les Noces despite being Russian. The Wedding was completed in 1917 but was then subjected to a series of changes of heart by Stravinsky regarding its scoring; he settled on the above forces only in 1923, in time for the premiere in Paris on 13th June that year under conductor Ernest Ansermet and danced by the Ballets Russes.Histoire du soldat, or Tale of the Soldier is a 1918 theatrical work to be "read, played and danced" by three actors, one or more dancers, and a septet of instruments. The music is by Stravinsky and the libretto, in French, by Swiss writer Charles Ferdinand Ramuz.Pulcinella is a ballet by Stravinsky with arias for soprano, tenor and bass vocal soloists, and two sung trios. The work premiered at the Paris Opera on 15th May 1920, only two months after the present letter was written, under again the baton of Ernest Ansermet. Pablo Picasso designed the costumes and sets and the ballet was commissioned by Sergei Diaghilev
CHAR RENE: (1907-1988) French poet and a member of the French Resistance during World War II. A good war date manuscript D.S., Rene Char, Alexandre, one page, 4to, Avignon, 15th February 1945, on the attractive printed stationery of the Forces Francaises Combattantes, in French. The document, entirely in Char´s hand, is an attestation issued in his capacity as Deputy Regional Head of the Parachute Landing Section Region 2 (1943-1944) and Departmental Inspector of the United Resistance Movements, and certfies that Andre and Henriette Gomes ´ont des octobre 1940 participe avec le plus grand courage et un total desinteressement a la premiere resistance contre les Allemands et les Italiens´ (Translation: ´have since October 1940 participated with the greatest courage and total dedication in the first resistance against the Germans and Italians´) and that ´Durant quatre ans ils n´ont jamais cesse de se rendre utiles et de servir la cause de la Liberation. Dans les conditions parfois les plus difficiles, ils ont rempli au mieux les missions qui leur ont ete confiees´ (Translation: ´For four years they never ceased to be useful and to serve the cause of the Liberation. Sometimes in the most difficult conditions, they carried out the missions entrusted to them to the best of their ability´). Signed by Char at the conclusion, also adding his alias (´Alexandre´) beneath his signature, alongside an official circular rubber stamp. Some light age wear, a few minor tears to the edges, and a couple of extremely small holes at the intersection of two folds, about VGAndre Gomes, a photographer, and his wife Henriette, were close friends of many prominent artists during the 1930s, including Pablo Picasso, Marcel Duchamp and Joan Miro. Henriette opened an art gallery in Paris in 1938, however, being Jewish they were forced to flee Paris during the Nazi occupation, and her gallery was seized as Jewish property. They ended up in Marseille in 1940, where they joined the Surrealists at the Villa Air-Bel, and both Andre and Henriette became active in the French Resistance. The Galerie Henriette was re-opened at 6 rue du Cirque, Paris, in 1949-50.
PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. A.L.S., Picasso, one page, 4to, Vallauris (Cote d´Azur), 2nd May 1950, to Max [Pellequer] (´Mon cher Max´), in French. Picasso, in the second letter of the day that he has written to Pellequer, states ´Je viens de recevoir les recus des cheques envoyes a ces messieurs des contributions. Je vous les envoi. Il fait un temps d´ete. Je travaille´ (Translation: ´I've just received the receipts for the cheques sent to these gentlemen from the tax department. I am sending them to you. The weather is summery. I am working´). VGMax Pellequer - French banker and art collector who would become Picasso´s private banker, financial adviser and close friend. Pellequer assembled an important collection of artworks in the 1920s and 1930s which included a number of significant early pieces by Picasso, as well as works by Paul Cezanne, Edgar Degas, Paul Gauguin, Henri Matisse, Joan Miro and others. Almost two hundred letters from Pellequer to Picasso are preserved in the Musee National Picasso in Paris.Picasso had come to live in Vallauris in 1948 and stayed in the seaside commune until 1955. During this time he created a great number of sculptures and paintings, including his mural War and Peace, and also developed a fascination for the techniques of ceramics and linocuts.
ERNST MAX: (1891-1976) German painter, sculptor, printmaker and graphic artist, a primary pioneer of the Dada movement and Surrealism in Europe. A.L.S., Max Ernst, one page, 4to, Paris, 6th October 1966, to Varian [Fry]. Ernst thanks his correspondent for some affidavits, remarking ´They are first class documents, and even of there are no more coming, these two will be plenty´, adding that he is pleased to know that Fry is in better health, ´I must say, I was quite worried, when I first heard the news.....But as I myself have been through the same experience not long ago, I knew, that after the first shock it was only a question of patience. You had it! From now on it will be easy. Very likely that you´ll feel better, much better than before´ and also briefly referring to the artists Pablo Picasso and Otto Dix, ´I did not get any answer from Picasso......to hell with Dix´, before concluding ´take good care of yourself, and do not forget that you have a good friend named´, adding his signature beneath. VGVarian Fry (1907-1967) American journalist who operated a rescue network in Vichy France during World War II, helping thousands of anti-Nazi and Jewish refugees to escape Nazi Germany and the Holocaust. Among the artists he offered aid to at this time were Jean Arp, Hans Bellmer, Marc Chagall, Marcel Duchamp, Wifredo Lam, Hans Namuth, and Max Ernst.
MONET CLAUDE: (1840-1926) French Impressionist painter. A.L.S., Claude Monet, one page, 8vo, Giverny par Vernon, Eure, 2nd November 1921, to Elie Faure, in French. Monet writes a sympathetic letter of benevolence, in full, ´J´ai beaucoup donne pendant les guerres et suis a present assez depourvu de toiles a pouvoir donner. Je ne veux cependant pas rester sourd a votre appel, en faveur d´un confrere si cruellement touche. Je vous envoie donc ci-joint un billet de mille francs, qui lui sera utile de suite´ (Translation: ´I donated a lot during the wars and am now quite short of canvases to donate. However, I do not want to turn a deaf ear to your appeal on behalf of a colleague who has been so cruelly affected. I am therefore sending you herewith a note for one thousand francs, which will be of immediate use to him´). With blank integral leaf. Accompanied by the original registered envelope hand addressed by Monet (area of paper loss caused by the removal of the postage stamps, slightly affecting the name of the recipient) and bearing five red wax seals to the verso, each with Monet´s initials imprinted to the centre. A few very light, extremely minor creases, VGElie Faure (1873-1937) French medical doctor, art historian and essayist, a passionate admirer of Paul Cezanne and Diego Velasquez, and a friend of Chaim Soutine, whom Faure considered a genius.The present letter was written by Monet in response to an appeal by Faure to a number of artists, seeking their assistance in raising funds for Francisco Iturrino (1864-1924), a Spanish Post-Impressionist painter sometimes associated with Fauvism. In 1920 Iturrino had developed gangrene on one leg which required an operation and was amputated the following year. Subsequently the artist refined himself to etching, although soon ran into financial difficulties. Faure organised an exhibition at the Galerie Rosenberg, which featured works donated by Matisse, Picasso and several other of Iturrino´s friends. The money raised from the exhibition enabled Iturrino to retire to Cagnes-sur-Mer in 1922, where he died two years later.
GILOT FRANCOISE: (1921-2023) French painter, the romantic partner and artistic muse of Pablo Picasso from 1943-53 and the mother of two of his children. Signed 8 x 10 photograph, the celebrated image originally captured by Robert Capa at Golfe-Juan on the Cote D´Azur in the summer of 1948 and depicting Gilot walking on the beach in a full-length pose, with Picasso in close attendance behind her as he dutifully carries a sunshade over Gilot´s head. Signed by the painter, in later years and with a slightly infirm signature, with her name alone in black ink at the base of the image. VG
Books. Three shelves of art history, theory and reference, 20th c, Benezit's Dictionary of Artists, eight volumes, French edition, cloth, 8vo; The American Annual of Photography, 1909, 1911-13, original cloth, 8vo; four illustrated volumes of the Louvre's catalogue; works by Kenneth Clark; some exhibition catalogues; Juan Gris; French Drawings and Paintings from the Hermitage: Poussin to Picasso; icons; etc
Books. Four shelves of art history reference, predominantly 19th c schools, including defective folio of Landseer's Works; other Victorian and Pre-Raphaelite masters; Impressionists, Monet, Van Gogh, Gauguin & Cézanne; Romantic artists, including Turner & Constable; others, various schools, including George and William Blake Richmond, Corot, Picasso, Rodin, David Hockney, and others; Antique Collectors' Club publications, predominantly hardback, mixed sizes
A CHEST AND TRAY OF VINTAGE CLOTHES AND ACCESSORIES to include a large quantity of ties from high street retailers, a boxes Marc Darcy tie, a Michaelis 'Millenium' tie, Tibetan cowrie shell embellished lady's belt, a boxed Simon Carter bow tie, a small group of women's scarves to include a Picasso print pattern etc, three flat caps, a boxed pair of Zara shoes (size 4), three wool jumpers, four coats ranging from M/L to XXL, a pair of jeans, etc (1 box and loose) (s.d)
A GROUP OF ART REFERENCE BOOKS (1) Including Henri Matisse, Gilles Néret, Taschen, 2002 Henri Matisse, Susan A. Sternau, Todtri. 1997 Joan Miro, Rosa Maria Mallet, Rizzoli, 1984 Paintings of the Western World - Post Impressionism, Ian Barras Hill, Galley Press, 1980 Master Drawings Rediscovered - Treasures from Pre War German Collections, Tatiana Ilatovskaya, 1996 Christie's Paris - Collection of Claude et Simone Dray (Art Deco), 8th June 2006 Antoni Gaudi - 1852-1926, Rainer Zerbst, Taschen 1993 Frank Stella in 20002, Singapore Tyler Print Institute, 2002 Pop Art, Tilman Osterwold, Taschen, 2007 Kandinsky, Ulrike Becks-Malorny Taschen, 2007 Chillida, Giovanni Carandente, Könemann, 1999 Joan Mitchell, Klaus Kertess, Abrams, ,1997 David Hamilton - Twenty Five Years of an Artist, L'Ariana Pictures Sarl, 1992 John Sexton - Quiet Light - Fifteen Years of Photographs, Bulfinch, 1990 Picasso - The Early Years, 1892-1906, National Gallery of Art, Washington, Yale, 1997 Pablo Picasso - 1881-1973, Part 1 The Works 1890-1936, Carsten-Peter Warncke, Ingo F. Walther, Taschen, 1997 (16 in total) Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
Foujita, Tsuguharu -- nach. Le RêveKollotypie auf festem Arches-Velin. Um 1947.50 x 60,5 cm (62,4 x 81,8 cm).Signiert "Foujita". Auflage 250 Ex.Spitzer 73.Das vorliegende Blatt in einem Farbdruckverfahren von Guy Spitzer (procédé Spitzer) nach einer Vorlage von Foujita. Herausgegeben von Guy Spitzer, links in der Darstellung mit dessen monogrammiertem Blindstempel, in einer Auflage von 250 numerierten Exemplaren neben 25 Künstlerabzügen. Der rückseitige Editionsstempel von Guy Spitzer fehlt, ebenso die handschriftliche Numerierung unten links. Neben dieser Arbeit von Foujita fertigte Spitzer zahlreiche Reproduktionen im gleichen Druckverfahren von namhaften Künstlern wie Georges Braque und Pablo Picasso oder Paul Signac. Alle aus der Zeit, unter Aufsicht der Künstler gedruckt und heute auf dem Kunstmarkt sehr begehrt. Guter Druck. Restauriert, bitte Zustandsbericht anfragen. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Chaissac, Gaston -- "L'Os qui n'avait pas la taille"Feder in Schwarz auf Canson & Montgolfier-Bütten. 1951.30,2 x 23,9 cm.Unten mittig mit Feder in Schwarz signiert "gaston chaissac d'avallon" und betitelt sowie links datiert.Mit dem herrlich satirischen Satz "Der Knochen, der nicht die Größe hatte" untertitelt Chaissac seine bemerkenswert detaillierte, karikaturistisch anmutende Federzeichnung. Eine Ansammlung abstrakter, scheinbar phantastischer Körper mit feinsten Binnenzeichnungen wird umschwirrt von mehreren insektenähnlichen Wesen. Gaston Chaissac, autodidaktisch zum Künstler ausgebildet, erhielt Einflüsse durch prähistorische Höhlenmalereien und Kinderzeichnungen und setzte sich in Paris mit den Arbeiten von Braque, Klee und Picasso auseinander.Provenienz: Galerie Rive Droite, Paris (verso mit deren Etikett)Privatbesitz Süddeutschland - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Szabó, László -- Abstrakte KompositionBronze mit goldbrauner Patina. Ca. 1959.12,5 x 17 x 11,5 cm.Auf einem Standbein signiert (eingeritzt) "L. SZABÓ."Nach seinem Jura-Studium floh der Ungar Szabó 1944 in die Schweiz und nahm in Genf ein Kunststudium bei Max Weber und Henry Koenig auf. 1947 siedelte er dann im Rahmen eines Stipendiums nach Paris über. Angesichts der dortigen Wohnungsnot schuf sich Szabó eine Wohnhöhle, die ihm zu gewisser Bekanntheit verhalf. Die Verschmelzung aus Plastik und Architektur beeindruckte und wurde zum Treffpunkt zahlreicher Künstler, und selbst der Architekt Le Corbusier ließ sich davon beeinflussen. In den 1950er Jahren stellte Szabó in Paris mit den großen Namen der Bildhauerei aus, darunter Henry Moore, Henri Laurens, Constantin Brâncusi sowie Max Ernst und Pablo Picasso. Er beschäftigte sich viel mit Urvölkern und seine Arbeiten kennzeichnen organisch-wachsende, schwellende Formen, stets in Ton modelliert und dann gegossen oder in Stein gehauen. Unsere kleine Bronze, aus amorphen Formen organisch zusammenfließend mit der Assoziation einer liegenden Frau, hat nach unten drei Standbeine, die ihr Stabilität verleihen. Prachtvoller Guss mit fein changierender Patina.Provenienz: Privatsammlung Berlin - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Picasso, Pablo -- Peintre au Travail avec Modèle barbu et une Spectatrice en TailleurRadierung und Aquatinta auf Au Vent d'Arles-Velin. 1963.23,2 x 33 cm (41,6 x 55 cm).Signiert "Picasso" und bezeichnet "H.(ors) C.(ommerce)". Auflage 20 num. Ex. Geiser/Baer 1127 Bc (von C), Bloch 1130.Druck nach der Verstählung der Platte. Erschienen als Frontispiz zu dem Buch von Jaime Sabartés "Les bleus de Barcelone", Paris 1963, herausgegeben von Au Vent d'Arles, aus einer Gesamtauflage von mindestens 145 Exemplaren. Prachtvoller Druck mit breitem Rand. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Picasso, Pablo -- Tête d'Homme BarbuAquatinta auf faserigem Japan. 1966.38,6 x 27,7 cm (58,1 x 45,2 cm). Signiert "Picasso".Geiser/Baer 1398 B (von C), Bloch 1231.Außerhalb der bei Geiser/Baer notierten Auflagen auf Arches- bzw. Rives-Velin in einer Gesamtauflage von 132 Exemplaren, und anders als dort auf breitrandigem Japan gedruckt. Das Motiv fand Verwendung als Frontispiz für Jean Cassou, "Papiers collés, 1910-1914", erschienen bei Pont des Arts, Paris 1966". Prachtvoller Druck mit sehr breitem Rand, rechts und unten mit dem Schöpfrand. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Pablo Picasso, VisageKeramikkrug. Weißer Scherben mit braunem und schwarzem Engobedekor, innen glasiert. Höhe 30,4 cm. Unter der Standfläche mit schwarzem Pinsel beschriftet "EDITION PICASSO MADOURA". Eines von 500 Exemplaren. - In guter Erhaltung.Ramié 288ProvenienzPrivatbesitz Nordrhein-Westfalen
Pablo Picasso, Le petit dessinateur (Claude zeichnet)Original-Farblithographie auf Velin. 65 x 50,2 cm (66 x 50,7 cm). Unter Glas gerahmt. Signiert und nummeriert. Exemplar 3/50. - Dazu: 6 Briefmarken aus Paraguay mit Picasso-Motiven, u.a. "Le Petit dessinateur", aus dem Album "Ein Kontinent namens Picasso", herausgegeben von UNICEF anlässlich des 100. Geburtstages von Picasso. - In guter Erhaltung. Geringfügig gebräunt.Mourlot 263; Bloch 768
Holmead (Clifford Holmead Philipps), Gruppe kleiner MädchenÖl auf Leinwand, auf Holz aufgezogen. 51 x 61,2 cm. Gerahmt. Unten links rot signiert 'Holmead' sowie rechts blau datiert und bezeichnet '71 HP'. Rückseitig mit schwarzer Kreide signiert, datiert und beschriftet 'Holmead HPinxit 71 toile sur triplex hydrofugé'. Mit der Nachlass-Nr. "G 71/8" versehen und auf einem Klebeetikett mit dem deutschen Titel versehen. - Vornehmlich am Unterrand rechts etwas berieben. Sonst sehr gut erhalten.Wir danken Birgid und Christoph Groscurth, Frankfurt, für freundliche Auskünfte. Die Arbeit wird in das in Vorbereitung befindliche Werkverzeichnis mit der Archiv-Nr. "G71/8" aufgenommen.ProvenienzNachlass des Künstlers; Privatsammlung NiedersachsenAusstellungenBremen 2023 (Kunsthalle), Holmead. Schenkung Alfred Moeke, o. Kat. Nr. mit Farbabb.LiteraturAlfred Moeke, Eine Sammlung ohne Picasso, München 2013, S. 148 mit ganzseitiger Farbabb.
Pablo Picasso, Service visage noirKeramik-Teller. Weißer Scherben mit schwarzer, roter, grüner und weißer Engobemalerei und Ritzdekor, glasiert. Durchmesser 23,3 cm. Auf der Standfläche mit dem Prägestempel "MADOURA PLEIN FEU" und mit schwarzem Pinsel beschriftet "E MADOURA d'après Picasso". Eines von 100 Exemplaren. Édition Picasso. - In guter Erhaltung.Ramié 40ProvenienzPrivatbesitz Nordrhein-Westfalen
Pablo Picasso, Visage aux mainsKeramik-Teller. Weißer Scherben mit plastischem Dekor, unglasiert. Durchmesser 42 cm. Auf der Standfläche mit den Prägestempeln "MADOURA PLEIN FEU" und "EMPREINTE ORIGINALE DE PICASSO" sowie mit schwarzem Pinsel beschriftet "C 109 EXEMPLAIRE EDITEUR". Exemplar 109 außerhalb der Edition von 100 Exemplaren. - In Holzkassette. - In guter Erhaltung. Vereinzelte winzige Schmutzfleckchen.Ramié 321ProvenienzPrivatbesitz Nordrhein-Westfalen
Pablo Picasso & Egidio Costantini. Bacco. Venedig, Fucina degli Angeli, I.V.R Mazzega, Murano. 1960. Kobaltblaues Glas, lüstriert, plastische Aufschmelzungen in Kobaltblau und Rot. H. 30 cm. In Diamantriß bez. P. Picasso E. Costantini Fucina Angeli VE 1960 P.A (prova d'artista) sowie Orig.-Aufkleber 'I.V.R. MAZZEGA MURANO'. - Literatur: Lit.: Egidio Costantini e suoi artisti, sculture in vetro della Fucina degli Angeli. Edizione Fattidarte, 1996, S. 94f. - Der künstlerische Autodidakt Egidio Costantini eröffnete in den 1950er Jahren mit Hilfe von Peggy Guggenheim seine eigene Glaskunstwerkstätte und Galerie, die 'Fucina degli Angeli' in Venedig und arbeitete mit vielen großen Künstlern seiner Zeit zusammen wie Pablo Picasso, Alexander Calder, Georges Braque, Lucio Fontana u.v.a.
Pablo Picasso (Malaga 1881 - Mougins 1973). L'atelier de Cannes. 1956/58. Farblithographie. 44,5 x 32,5 cm. O. Mitte im Druck sign. und dat. Pour Gilberte et Serge, Picasso le 5.12.58, unter Passepartout und Glas gerahmt. Diente als Frontispiz des Portfolios 'Ces peintres nos amis' von 1960 mit einer Widmung an Gilberte Duclaud und Serge Chauby, Galeristen der Galerie 65 in Cannes - Literatur: WVZ: Bloch 794, überarbeitete Version - Universalgenie, einer der bedeutendsten Künstler der Kunstgeschichte, der in fast allen künstlerischen Gattungen Bahnbrechendes geleistet hat. P. studierte ab 1885 an den Akademien Barcelona und Madrid. In den ersten Jahren des 20. Jhs. gelang es Picasso nach schwierigen Anfängen, sich in der Kunstmetropole Paris zu etablieren. Seine ungeheure Kreativität und stilistische Vielfalt, dazu die schiere Fülle an Schöpfungen machten P. zum unerreichten Malerfürsten einer ganzen Epoche. Mus.: New York (MoMA, Metrop. Mus.), Paris (Centre Pompidou) Mus. Picasso), Barcelona (Mus. Picasso), London (Tate Modern), Berlin (Neue Nat.-Gal., Mus. Berggruen), Chicago (Art Institute), St. Petersburg (Eremitage), Moskau (Puschkin-Mus.), Madrid (Mus. Reina Sofia), Basel u.a. Lit.: Thieme-Becker, Vollmer, Bénézit, Zervos: P. P. Cat. rais., Bloch: Cat. de l’oeuvre gravé et lithographié u.v.a.
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