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Lot 1381
FERNAND MOURLOTSouvenirs et portraits d’artistes. Jacques Prévert: Le coeur á l’ouvrage. Paris/New York: Mazo/Amiel 1972. 32,3 x 25,3 cm. Mit 24 (von 25; 18 farb., 1 doppelblattgr.) OrLithographien verschiedener Künstler. 245 SS., 1 nn. S., 3 Bll. Lose Bogen in OrUmschlag und OrLn.-Kassette mit Rt.(Umschlag leicht gebrauchsfleckig. Es fehlt die OrGraphik von Miró.)Nr. 354 von 800 Ex. auf Vélin d'Arches. - Freundschaftsbuch der bedeutendsten französischen lithographischen Anstalt des 20. Jahrhunderts. - Mit OrLithographien von Maurice Brianchon (L’Arlequin), André Masson (Le départ), André Beaudin (Feuilles évadées), Apel·les Fenosa (Tramontane), Maurice Estève (Alalito), Henri Matisse (Studie für das Buch „La Religieuse Portugaise“), Paul Guiramand (Intérieur), Kostia Terechkovitch (Cavalier tunisien), Georges Braque (Profil de femme [M. 25]), André Derain (Buste de femme [1950]), Pablo Picasso (Le seigneur et la dame [M. 322]), Paul Jenkins (Composition pour Eric; doppelblattgr.), Jean Cocteau (Manuscrit), André Minaux (La femme et l’oiseau), Jacques Villon (Portrait d’une jeune fille), Marc Chagall (Bouquet pour Fernand), Giacometti (Fleurs), Bernard Buffet (Les ombelles), Paul Wunderlich (Torso sur une pierre bleue), Paul Delvaux (Confidences), Victor Vasarely (Beryll), Alfred Manessier (La tache rouge), Charles Lapicque (Le chant des oiseaux) und Graham Sutherland (Hybrid). - Es fehlt das Farblitho von Joan Miró "Jaillie du calcaire".
Lot 1096
ROBERT RAUSCHENBERGAus: Hommage à Picasso 1973Farbserigrafie und solvent transfer auf Velin mit Trockenstempel des Druckers. Signiert, datiert und nummeriert. Ex. XIII/XXX. Verso mit Copyright-Stempel Graphicstudio, University of South Florida, Tampa. 76,5 x 56,5 cm.(Altersspuren; gebräunt, die Kanten stärker gebräunt. Rückseitig am oberen Rand punktuell fest frei im Passepartout montiert.)
Lot 1382
PABLO PICASSOPIERRE REVERDY: Le chant des Morts. Poèmes. Lithographies originales de Pablo Picasso. Paris: Text, Draeger Freres; Lithogr. Mourlot Frères 1948. 42,3 x 32,2 cm. Mit 125 (davon 2 auf den Deckeln) OrLithographien von P. Picasso. 116 SS. Lose Bögen in illustr. Papierumschlag in grauem OrLeinenumschlag mit Rt. in grauem OrLeinenschuber.(Schuber leicht berieben und minimal beschmutzt; Leinenumschlag leicht berieben; teils deutlicher Abklatsch; geringfügige Bräunung des Papiers.)Nr. 55 von 250 Exemplaren (GA 270). - Im Druckvermerk von Reverdy und Picasso signiert. - Cramer, Picasso, No. 50. - "At first, Picasso thought he would illustrate the text in the usual way - that is, with illustrations separated from the text. The artist changed his mind, however, and decided instead to illustrate Reverdy's text page by page, in the manner of the old illuminated manuscripts." (Cramer).
Lot 1097
Ilya Shenker (1922-2013): On the road, oil on canvasWork: 105,5 x 76,5 cmFrame: 115 x 90,5 cm New York resident Ilya Shenker left Russia over twenty years ago; however, Russia has never left the artist's mind. As a soldier in World War II, he survived where millions perished. Upon returning to his home town of Odessa, he felt abandoned and alone. He studied Art and Architecture in Odessa but left for America when the opportunity arose when a number of Russian Jewish artists where allowed to emigrate. He settled in New York City, a choice that has forever impacted his oeuvre. Many of his pictures depict New York cityscapes and lifestyle; however, they remain typically Russian. His subject matter often comes from memory and includes the life that he left behind, family, and friends. Drawing upon his Jewish heritage for inspiration, Shenker also paints historical events, such as 'On the Eve of the Assault' in which he portrayed the last night before the destruction of Jerusalem. His use of imagination also applies to the figures in his paintings - fictional characters such as the Spanish literary character Don Quixote make appearances in his work. He has also placed figures such as Rembrandt and Picasso in modern settings: in "Rembrandt Visiting our Family," Shenker sits his most favored artist at his family table, in a tribute to someone he describes as a "peoples artist." On many levels, Shenker saw himself as a people's artist as well. In fact, he contributed to an exhibition intended to commemorate the six-month anniversary of September 11th, 2001 in New York City. Ilya Shenker has exhibited works all over the World, and held numerous shows in the United States. He also has permanent works in several Russian museums.
Lot 387
Pablo Picasso (1881-1973), lithograph in colours on paper, Toros Vallauris 1958, signed and dated in the plate, 21.5cm x 18cm, mounted, glazed and framed. Thislithograph is printed by Mourlot Freres, the original printer of the poster. It is an exact reprint of the original 3 colour linocut poster in all but size
Lot 170
Picasso (Pablo).- Ovid. Les Metamorphoses, one of 95 copies on Arches laid, from an edition of 145 copies signed by the artist, signed by Picasso in pencil to half-title verso, 30 etchings by Picasso, of which 15 loose as plates and 15 within text, unsigned, initials in red throughout, a very few scattered and faint spots or a tiny amount of browning to very edges of a few ff., loose as issued, original printed wrappers and glassine jacket, edges uncut, within original chemise, scattered spots to verso, light abrasions to corners (likely due to tight slip-case), original slipcase, a few light abrasions and marks, [Cramer, Pablo Picasso The Illustrated Books: Catalogue Raisonné (1983), 19; Museum of Fine Arts Boston, The Artist and the Book 1860-1960 (1961), 224], 4to, Lausanne, Albert Skira, 1931.*** The first of Picasso's major illustrated books.
Lot 305
Otto Feldmann. 1881 Wien - 1942 KZ Sobibor. Studierte in München und bei Steinlen in Paris. Unterhielt Freundschaften zu den Malern des Café du Dôme wie Hans Purrmann und Rudolf Levy, dessen Schwägerin Ida er 1923 heiratete. Bedingt durch seine Kontakte zu den Galeristen Flechtheim und Kahnweiler eröffnete er 1912 seine Galerie 'Rheinischer Kunstsalon' in Köln, wo er die europäische Avantgarde ausstellte. Von 1912 - 1914 wurden Werke des deutschen Expressionismus, des französischen Kubismus und des italienischen Futurismus gezeigt. 1913 eröffnete Feldmann eine Galerie in Berlin, wo seine Ausstellung 'Picasso-Negerplastik' Aufsehen erregte. In der Zwischen-Kriegszeit lebte Feldmann mit seiner Frau Ida in Paris. 1939 wurde er in Prag von der Gestapo verhaftet, als er versuchte seinen Besitz aus der dortigen Wohnung zu sichern. Ida emigrierte 1942 in die USA.Mongr. Rs. bet. L-'Mulattin'. 18 Mulata. (Werknummer). Ida Levy im Armlehnstuhl, neben einer Palme im Topf. Expressive Schilderung. Öl/Lwd. auf Faserkarton. 65 x 56 cm.Prov. 1937 erworben von Karl Rehn beim Künstler in Prag
Lot 504
Marie Laurencin, 1883 Paris – 1956 ebendaJEUNE SEIGNEUR DEVANT SON PALAIS, 1932Öl auf Leinwand.27,2 x 41,2 cm.Rechts oben signiert und datiert „Marie Laurencin, 1932“.In barockisierendem vergoldeten Rahmen.Vor dem Dunkelgrün des Hintergrunds heben sich der junge Herr und sein Hund hell ab. Sie gehen in Richtung einer einbogigen Brücke auf der linken Seite, die einen Fluss überspannt. Hinter ihnen ein synthetisch geformtes Gebäude, das einer Burg ähnelt, flankiert von zwei quadratischen Türmen. Die hellgrauen Volumen ähneln, stark vereinfacht, einer Reihe von Würfeln, deren durchbrochene Seiten Öffnungen zeichnen, Fenster ohne Rahmen, manchmal durch eine Farbe belebt, einen Vorhang oder eine Tür. Im Hintergrund entfaltet die Natur ihr Grün auf einem hügeligen Relief. Wie üblich versucht Marie Laurencin nicht eine Landschaft nachzubilden, sondern sie zu evozieren, in den für sie typischen kühlen Farbnuancen, durch die die kulissenhaften Hintergründe an Tiefe gewinnen. Nach einer Ausbildung zur Porzellanmalerin besuchte Laurencin in den ersten Jahrzehnten des 20. Jahrhunderts eine der vielen Akademien in Paris, die Académie Humbert, wo sie Georges Braque (1882-1963) in den künstlerischen Kreis um Pablo Picasso (1881-1973) einführte. (1431806) (13) (†)Marie Laurencin,1883 Paris – 1956 ibid.JEUNE SEIGNEUR DEVANT SON PALAIS, 1932Oil on canvas.27.2 x 41.2 cm.Signed and dated “Marie Laurencin, 1932” on top right.
Lot 508
Pablo Picasso, 1881 Málaga – 1973 MouginsHOMARDS ET POISSONS, 1949Lithografie auf Velin.Darstellung: 73,5 x 103 cm.Rechts unterhalb der Darstellung signiert, links unten Auflage „19/50“.Im Passepartout, hinter Glas gerahmt.Literatur:Georges Bloch, Pablo Picasso, Katalog des graphischen Werkes 1966-1969, Bern 1986, Nr. 582. (1431233) (18)Pablo Picasso,1881 Málaga – 1973 MouginsHOMARDS ET POISSONS, 1949Lithograph on vellum. Dimensions of depiction: 73.5 x 103 cm.Signed lower right beneath the depiction, limited edition no. “19/50” lower left. Literature:Georges Bloch, Pablo Picasso, Katalog des graphischen Werkes 1966-1969, Bern 1986, no. 582.
Lot 509
Pablo Picasso, 1881 Málaga – 1973 MouginsVISAGE EN FORME D‘HORLOGEDurchmesser: 42 cm. Gewicht: 1900 g.Verso gestempelt „Picasso“ und nummeriert 7/20, Feingehaltstempel, Meistermarke und Nummerierung.In edler, innen textil tapezierter Sammlungsbox.Beigegeben eine Bestätigung von Pierre Hugo, 2016.In Silber getrieben und poliert mit Darstellung eines abstrahierten lachenden Gesichtes im Spiegel, die aufstrebende Fahne mit abstrakten Zeichen. Dank des berühmten Historikers Douglas Cooper entstanden die Silberplatten von Pablo Picasso. Die beiden Männer, langjährige Freunde, lebten im Süden Frankreichs und pflegten die Gewohnheit, lange sonnige Nachmittage in La Californie zu verbringen, um über die Werke des Malers zu sprechen. Cooper erinnert sich: „Es gab eine neue Gruppe dieser Platten, die gerade aus Vallauris angekommen waren, die Picasso und ich eines Tages Ende Mai 1956 in La Californie betrachteten. Nach und nach führte uns das Gespräch zu den prachtvollen getriebenen Gold- und Silberplatten, die im 16. und 17. Jahrhundert in Frankreich, Augsburg oder Venedig gefertigt wurden, viele davon mit Entwürfen berühmter Künstler. In diesem Moment sagte Picasso plötzlich, dass er selbst dachte, seine eigenen Platten würden prächtig in Silber ausgeführt aussehen“ (D. Cooper, Picasso, 19 plats en argent, Paris, 1977, o. S.).Cooper dachte sofort an François Hugo, den Picasso vor dem Krieg kennengelernt hatte. Der Silberschmied war kürzlich durch die Schaffung mehrerer religiöser Objekte in Silber mit der Repoussé-Technik aufgefallen. Picasso war sofort interessiert und bat Cooper, den Silberschmied zu kontaktieren. Am 25. September 1956 trafen sich die beiden Künstler. Sie diskutierten die vielen technischen Aspekte des Projekts, und Picasso, beeindruckt von Hugos Talent und Charme, übergab ihm die Platte Le Dormeur als Modell für einen ersten Versuch. Dieser erste Versuch war ein Erfolg, und Picasso bestellte vier weitere Dormeur-Platten. Die Aufträge setzten sich über die nächsten zehn Jahre fort; neben den Platten bat Picasso Hugo auch, eine Obstschale und mehrere Objekte aus Gold herzustellenProvenienz:Privatsammlung Großbritannien.Literatur:Vgl. D. Cooper, Picasso, 19 plats en argent par François et Pierre Hugo, Paris 1977.Vgl. Georges Bloch, Pablo Picasso: Catalogue de l‘oeuvre gravé ceramique, 1949 - 1971, Bern, 1972, Bd. III, S. 91 (mit der entsprechenden Abbildung der Keramik).Vgl. Alain Ramié, Picasso: Catalogue of the Edited Ceramic Works, 1947-1971, Galerie Madoura, Vallauris, Paris 1988, Nr. 307 (mit Farbabbildung der Keramikversion).Vgl. Pierre Hugo & Claire Siaud, Bijoux d‘artistes: Hommage à Francois Hugo, Aix-en-Provence 2001, S. 147-193. (1420924) (13) (†)Pablo Picasso,1881 Málaga – 1973 MouginsVISAGE EN FORME D´HORLOGE Diameter: 42 cm. Weight: 1900 g.Stamped “Picasso” on the reverse and limited edition no. 7/20, hallmarked, maker’s mark and numbering. In precious presentation box lined with fabric.Acompanied by confirmation by Pierre Hugo, 2016. Silver; chased and polished.Provenance: Private collection, Great Britain. Literature: cf. Douglas Cooper, Picasso, 19 plats en argent par François et Pierre Hugo, Paris 1977. cf. Georges Bloch, Pablo Picasso: Catalogue de l’oeuvre gravé céramique, 1949 - 1971, Bern 1972, vol. III, p. 91 (with the respective illustration of the ceramic).cf. Alain Ramié, Picasso: Catalogue of the Edited Ceramic Works, 1947 - 1971, Galerie Madoura, Vallauris, Paris 1988, no. 307 (with colour illustration of the ceramic version). cf. Pierre Hugo & Claire Siaud, Bijoux d’artistes, Artist’s Jewels, Hommage à François Hugo, Aix-en-Provence 2001, pp. 147 - 193.
Lot 510
Pablo Picasso, 1881 Málaga – 1973 MouginsHORLOGE À LA LANGUE,1956Durchmesser: 42 cm.Gewicht: 1990 g.Verso gestempelt „Picasso“. Nummeriert 10/20.In elegantem, innen textil tapeziertem Sammlungsetui.Beigegeben eine Bestätigung von Pierre Hugo, 2022.Silber, getrieben und poliert. Dank des berühmten Historikers Douglas Cooper entstanden die Silberplatten von Pablo Picasso. Die beiden Männer, langjährige Freunde, lebten im Süden Frankreichs und pflegten die Gewohnheit, lange sonnige Nachmittage in La Californie zu verbringen, um über die Werke des Malers zu sprechen. Cooper erinnert sich: „Es gab eine neue Gruppe dieser Platten, die gerade aus Vallauris angekommen waren, die Picasso und ich eines Tages Ende Mai 1956 in La Californie betrachteten. Nach und nach führte uns das Gespräch zu den prachtvollen getriebenen Gold- und Silberplatten, die im 16. und 17. Jahrhundert in Frankreich, Augsburg oder Venedig gefertigt wurden, viele davon mit Entwürfen berühmter Künstler. In diesem Moment sagte Picasso plötzlich, dass er selbst dachte, seine eigenen Platten würden prächtig in Silber ausgeführt aussehen“ (D. Cooper, Picasso, 19 plats en argent, Paris, 1977, o. S.).Cooper dachte sofort an François Hugo, den Picasso vor dem Krieg kennengelernt hatte. Der Silberschmied war kürzlich durch die Schaffung mehrerer religiöser Objekte in Silber mit der Repoussé-Technik aufgefallen. Picasso war sofort interessiert und bat Cooper, den Silberschmied zu kontaktieren. Am 25. September 1956 trafen sich die beiden Künstler. Sie diskutierten die vielen technischen Aspekte des Projekts, und Picasso, beeindruckt von Hugos Talent und Charme, übergab ihm die Platte Le Dormeur als Modell für einen ersten Versuch. Dieser erste Versuch war ein Erfolg, und Picasso bestellte vier weitere Dormeur-Platten. Die Aufträge setzten sich über die nächsten zehn Jahre fort; neben den Platten bat Picasso Hugo auch, eine Obstschale und mehrere Objekte aus Gold herzustellen.Provenienz:Privatsammlung Großbritannien. Literatur:Vgl. Georges Bloch, Pablo Picasso: Catalogue de l‘oeuvre gravé ceramique, 1949 - 1971, Bern, 1972, Bd. III, S. 100 (mit der entsprechenden Abbildung der Keramik).Vgl. Alain Ramié, Picasso: Catalogue of the Edited Ceramic Works, 1947-1971, Paris 1988, Nr. 327 (mit Farbabbildung der Keramikversion).Vgl. Pierre Hugo & Claire Siaud, Bijoux d‘artistes: Hommage à Francois Hugo, Aix-en-Provence 2001, S. 147-193.Vgl. D. Cooper, Picasso, 19 plats en argent par François et Pierre Hugo, Paris 1977. (1420921) (13) (†)Pablo Picasso,1881 Málaga – 1973 MouginsHORLOGE À LA LANGUE, 1956Diameter: 42 cm.Weight: 1990 g.Stamped “Picasso” on the reverse. Limited edition no. 10/20.In elegant presentation box lined with fabric. Acompanied by a confirmation by Pierre Hugo, 2022. Silver; chased and polished.Provenance: Private collection, Great Britain. Literature: cf. Georges Bloch, Pablo Picasso: Catalogue de l’oeuvre gravé céramique, 1949 - 1971, Bern 1972, vol. III, p. 100 (with respective illustration of the ceramic). cf. Alain Ramié, Picasso: Catalogue of the Edited Ceramic Works, 1947 - 1971, Galerie Madoura, Vallauris, Paris 1988, no. 327 (with colour illustration of the ceramic version). cf. Pierre Hugo & Claire Siaud, Bijoux d’Artistes, Artist’s Jewels, Hommage à François Hugo, Aix-en-Provence 2001, p. 147 - 193. cf. Douglas Cooper, Picasso, 19 plats en argent par François et Pierre Hugo, Paris 1977.
Lot 511
Pablo Picasso, 1881 Málaga – 1973 MouginsFAUNE CAVALIERDurchmesser: 42 cm. Gewicht: 2000 g.Verso gestempelt „Picasso“ und nummeriert 1/2.In edler, innen textil tapezierter Sammlungsbox.Beigegeben eine Bestätigung von Pierre Hugo, 2022.In Silber getrieben mit berittenem Mann im Spiegel und abstrakten Zeichen auf der Fahne. Dank des berühmten Historikers Douglas Cooper entstanden die Silberplatten von Pablo Picasso. Die beiden Männer, langjährige Freunde, lebten im Süden Frankreichs und pflegten die Gewohnheit, lange sonnige Nachmittage in La Californie zu verbringen, um über die Werke des Malers zu sprechen. Cooper erinnert sich: „Es gab eine neue Gruppe dieser Platten, die gerade aus Vallauris angekommen waren, die Picasso und ich eines Tages Ende Mai 1956 in La Californie betrachteten. Nach und nach führte uns das Gespräch zu den prachtvollen getriebenen Gold- und Silberplatten, die im 16. und 17. Jahrhundert in Frankreich, Augsburg oder Venedig gefertigt wurden, viele davon mit Entwürfen berühmter Künstler. In diesem Moment sagte Picasso plötzlich, dass er selbst dachte, seine eigenen Platten würden prächtig in Silber ausgeführt aussehen“ (D. Cooper, Picasso, 19 plats en argent, Paris, 1977, o. S.).Cooper dachte sofort an François Hugo, den Picasso vor dem Krieg kennengelernt hatte. Der Silberschmied war kürzlich durch die Schaffung mehrerer religiöser Objekte in Silber mit der Repoussé-Technik aufgefallen. Picasso war sofort interessiert und bat Cooper, den Silberschmied zu kontaktieren. Am 25. September 1956 trafen sich die beiden Künstler. Sie diskutierten die vielen technischen Aspekte des Projekts, und Picasso, beeindruckt von Hugos Talent und Charme, übergab ihm die Platte Le Dormeur als Modell für einen ersten Versuch. Dieser erste Versuch war ein Erfolg, und Picasso bestellte vier weitere Dormeur-Platten. Die Aufträge setzten sich über die nächsten zehn Jahre fort; neben den Platten bat Picasso Hugo auch, eine Obstschale und mehrere Objekte aus Gold herzustellen.Provenienz:Privatsammlung Großbritannien.Literatur:Vgl. Georges Bloch, Pablo Picasso: Catalogue de l‘oeuvre gravé ceramique, 1949 - 1971, Bern, 1972, Bd. III, S. 102 (mit der entsprechenden Abbildung der Keramik).Vgl. Alain Ramié, Picasso: Catalogue of the Edited Ceramic Works, 1947-1971, Galerie Madoura, Vallauris, Paris 1988, Nr. 346 (mit Farbabbildung der Keramikversion).Vgl. Pierre Hugo & Claire Siaud, Bijoux d‘artistes: Hommage à Francois Hugo, Aix-en-Provence 2001, Nr. 1406.Vgl. D. Cooper, Picasso, 19 plats en argent par François et Pierre Hugo, Paris 1977. (1420922) (13) (†)Pablo Picasso,1881 Málaga – 1973 MouginsFAUNE CAVALIERDiameter: 42 cm. Weight: 2000 g.Stamped “Picasso” on the reverse and limited edition no. 1/2.In precious presentation box lined with fabric. Acompanied by a confirmation by Pierre Hugo, 2022. Silver; chased and polished.Provenance: Private collection, Great Britain. Literature: cf. Douglas Cooper, Picasso, 19 plats en argent par François et Pierre Hugo, Paris 1977. cf. Georges Bloch, Pablo Picasso: Catalogue de l’oeuvre gravé, 1949 - 1971, Bern 1972, vol. III, p. 102 (with respective illustration of the ceramic). cf. Alain Ramié, Picasso: Catalogue of the Edited Ceramic Works, 1947 - 1971, Galerie Madoura, Vallauris, Paris 1988, no. 346 (with colour illustration of the ceramic version). cf. Pierre Hugo & Claire Siaud, Bijoux d’artistes, Artist’s Jewels, Hommage à François Hugo, Aix-en-Provence 2001, no. 1406.
Lot 512
Pablo Picasso, 1881 Málaga – 1973 MouginsJACQUELINE AU CHEVALETDurchmesser: 42 cm. Gewicht: 2000 g.Verso gestempelt „Picasso“. Nummeriert 10/20. Meistermarke Pierre Hugo, Garantiemarke Marseille für 1er Titre.In edlem, innen textil tapeziertem Sammlungsetui.Beigegeben eine Bestätigung von Pierre Hugo, 2022.Silber getrieben und poliert. Dank des berühmten Historikers Douglas Cooper entstanden die Silberplatten von Pablo Picasso. Die beiden Männer, langjährige Freunde, lebten im Süden Frankreichs und pflegten die Gewohnheit, lange sonnige Nachmittage in La Californie zu verbringen, um über die Werke des Malers zu sprechen. Cooper erinnert sich: „Es gab eine neue Gruppe dieser Platten, die gerade aus Vallauris angekommen waren, die Picasso und ich eines Tages Ende Mai 1956 in La Californie betrachteten. Nach und nach führte uns das Gespräch zu den prachtvollen getriebenen Gold- und Silberplatten, die im 16. und 17. Jahrhundert in Frankreich, Augsburg oder Venedig gefertigt wurden, viele davon mit Entwürfen berühmter Künstler. In diesem Moment sagte Picasso plötzlich, dass er selbst dachte, seine eigenen Platten würden prächtig in Silber ausgeführt aussehen“ (D. Cooper, Picasso, 19 plats en argent, Paris, 1977, o. S.).Cooper dachte sofort an François Hugo, den Picasso vor dem Krieg kennengelernt hatte. Der Silberschmied war kürzlich durch die Schaffung mehrerer religiöser Objekte in Silber mit der Repoussé-Technik aufgefallen. Picasso war sofort interessiert und bat Cooper, den Silberschmied zu kontaktieren. Am 25. September 1956 trafen sich die beiden Künstler. Sie diskutierten die vielen technischen Aspekte des Projekts, und Picasso, beeindruckt von Hugos Talent und Charme, übergab ihm die Platte Le Dormeur als Modell für einen ersten Versuch. Dieser erste Versuch war ein Erfolg, und Picasso bestellte vier weitere Dormeur-Platten. Die Aufträge setzten sich über die nächsten zehn Jahre fort; neben den Platten bat Picasso Hugo auch, eine Obstschale und mehrere Objekte aus Gold herzustellen.Provenienz:Privatsammlung Großbritannien.Literatur:Vgl. Georges Bloch, Pablo Picasso: Catalogue de l‘oeuvre gravé ceramique, 1949 - 1971, Bern, 1972, Bd. III, S. 107 (mit der entsprechenden Abbildung der Keramik).Vgl. Alain Ramié, Picasso: Catalogue of the Edited Ceramic Works, 1947-1971, Galerie Madoura, Vallauris, Paris 1988, Nr. 333 (mit Farbabbildung der Keramikversion).Vgl. Pierre Hugo & Claire Siaud, Bijoux d‘artistes: Hommage à Francois Hugo, Aix-en-Provence 2001, S. 147-193.Vgl. D. Cooper, Picasso, 19 plats en argent par François et Pierre Hugo, Paris 1977. (1420923) (13) (†)Pablo Picasso,1881 Málaga – 1973 MouginsJACQUELINE AU CHEVALET Diameter: 42 cm. Weight: 2000 g.Stamped “Picasso” on the reverse. Limited edition no. 10/20. Maker’s mark of Pierre Hugo, guarantee hallmark Marseille for 1er Titre.In precious presentation box lined with fabric. Acompanied by a confirmation by Pierre Hugo, 2022. Silver; chased and polished.Provenance: Private collection, Great Britain. Literature: cf. Georges Bloch, Pablo Picasso: Catalogue de l’oeuvre gravé céramique, 1949 - 1971, Bern 1972, vol. III, p. 107 (with respective illustration of the ceramic). cf. Alain Ramié, Picasso: Catalogue of the Edited Ceramic Works, 1947 - 1971, Galerie Madoura, Vallauris, Paris 1988, no. 333 (with colour illustration of the ceramic version). cf. Pierre Hugo & Claire Siaud, Bijoux d’artistes, Artist’s Jewels, Hommage à François Hugo, Aix-en-Provence 2001, pp. 147-193. cf. Douglas Cooper, Picasso, 19 plats en argent par François et Pierre Hugo, Paris 1977.
Lot 513
Pablo Picasso, 1881 Málaga – 1973 MouginsCORPS PERDU, EDITIONS FRAGRANCE, PARIS 194939 x 28,2 cmNummeriert XII, signiert von Pablo Picasso und Aimé Césaire.In original Schuber.Buch von Aimé Césaire mit 32 Illustrationen von Picasso. Eins von zwölf römisch nummerierten Exemplaren, nicht kollationiert.Literatur: Vgl. Cramer Books 56. Vgl. Bloch, 632-663. Vgl. Baer, 840-871. (1431234) (13)Pablo Picasso,1881 Málaga – 1973 MouginsCORPS PERDU, ÉDITIONS FRAGRANCE, PARIS 194939 x 28.2 cmNumbered XII, signed by Pablo Picasso and Aimé Césaire.In original boxed set.Book by Aimé Césaire with 32 illustrations by Picasso. One of twelve Roman numbered copies.Literature: cf. Cramer Books 56. cf. Bloch, 632-663. cf. Baer, 840-871.
Lot 514
Pablo Picasso, 1881 Málaga – 1973 MouginsCENTAUR, 1960Höhe: 29 cm. Breite: 28 cm. Durchmesser des Glassockels: 7,4 cm.Auf der Unterseite des Glassockels eingraviert „P Picasso e Constantini Fucina Angeli FE-1960“, mit kleinem Kreis, darin „PA“.Zudem Aufkleber „MAZZEGA I.V.R. MURANO“.Für Fucina Angeli Venezia, ausgeführt durch Egidio Costantini (1912-2007). Blaues Glas mit dem Gesicht eines Kentauren mit zwei Hörnern, sowie einem roten Auge. (14314112) (18))
Lot 515
Pablo Picasso, 1881 Málaga – 1973 Mougins, nachFEMME, 1955Höhe: 33 cm.Bodenseitig mit Reliefstempel Edition Picasso und Madoura, sowie mit dem Pinsel „Edition Picasso“. Nicht nummeriert.Weißes Steingut in Kegelform gearbeitet mit ausgestelltem Hals und schauseitigem Ausguss. Innen wie außen gefasst. Die Fassung eine halb entblößte Frau mit Perlenkette zeigend. Innen zusätzlich glasiert. J-förmiger Henkel mit Streifendekor.Literatur:Alain Ramié, Picasso catalogue de l‘oeuvre céramique édité 1947-1971, Vallauris 1988, Nr. 297, Auflage von 100 Exemplaren. (1431771) (13))
Lot 729
Fernand Léger, 1881 Argentan/ Orne – 1955 Gif-sur-YvettePORTRAIT DE FEMME, 1952Serigraphie.Sichtmaß: 37x 28,5 cm.Links unten nummeriert: 124 / 200. Im Druck monogrammiert und datiert (19)52. Unten rechts mit Restsignatur.Hinter Passepartout und Acrylglas gerahmt.Fernand Léger war ein französischer Maler, Bildhauer, Grafiker, Keramiker und Filmregisseur. Sein Frühwerk wird dem Kubismus zugeordnet, insbesondere beeinflussten ihn Picasso und Georges Braque. Ab den 1920er-Jahren integrierte er zunehmend figurative Elemente in seine Gemälde. 1937 wurden einige seiner Bilder als „Entartete Kunst“ aus Museen beschlagnahmt. Sein Spätwerk hatte Einfluss auf die amerikanischen Künstler der Pop Art, etwa Roy Lichtenstein. Zur Beschreibung nicht geöffnet. (14316918) (13))
Lot 31
Charles Biederman, born Karel Joseph Biederman (American, 1906-2004). Ink, gouache, and pen on paper painting titled "Study for Painting, Paris, January 1937" depicting abstracted shapes in pale blue, yellow, black, and green, 1937. Dated "1/37" along the lower right. With a label from Grace Borgenicht Gallery, New York affixed to the verso.Provenance: Estate of Charles Biederman.Lot Essay:Born to Czech parents in Cleveland in 1906, Biederman was involved in the American art scene for his entire life. He briefly studied at the Cleveland Art Institute and the School of the Art Institute of Chicago (SAIC) before dropping out and moving to New York. It was there that he met and was included in shows with other influential artists of the time including Alexander Calder, John Ferren, George L.K. Morris, and Charles Green Shaw.For nine months from 1936-37 Biederman studied in Paris. It was here that he met and was influenced by leading artists including Picasso, Mondrian, and Miro. He was initially influenced by the works of Fernand Leger before moving away from his style and towards totally abstract, geometric compositions. The movements of Cezanne, Post-Impressionism, and Cubism informed the evolution of his style. And while he started out painting, he abandoned two-dimensional for more sculptural works by the end of 1937.In 1941 he married Mary Moore Biederman and in the following year he moved to Red Wing, Minnesota, where he would spend the rest of his life. In the 1950s, he created the term "Structurism" to help define his works from Constructivism and De Stijl. Many prominent collections around the world contain Structurist Reliefs including The Whitney Art Museum, The Metropolitan Museum of Art, and The Tate, London.In 2004, Beiderman died at the age of 98 and his estate was subsequently given to the Weisman Art Museum on the University of Minnesota - Twin Cities campus. They have organized traveling exhibitions of his works.Sight; height: 17 in x width: 14 in. Framed; height: 19 1/4 in x width: 16 1/4 in x depth: 1 1/2 in.Condition: The sheet is slightly toned. The colors are bold and bright. There is a slight undulation to the sheet. Light soiling throughout, as expected from a study. The work is floated in frame. Framed under glass; light wear to the frame. Not inspected out of frame.
Lot 32
Charles Biederman, born Karel Joseph Biederman (American, 1906-2004). Ink, gouache, and pen on paper painting titled "Study for Painting, Paris, January 1937" depicting abstracted shapes in yellow, black, and white, 1937. Pencil signed and dated "P 1/37" along the lower left.Provenance: Estate of Charles Biederman.Lot Essay:Born to Czech parents in Cleveland in 1906, Biederman was involved in the American art scene for his entire life. He briefly studied at the Cleveland Art Institute and the School of the Art Institute of Chicago (SAIC) before dropping out and moving to New York. It was there that he met and was included in shows with other influential artists of the time including Alexander Calder, John Ferren, George L.K. Morris, and Charles Green Shaw.For nine months from 1936-37 Biederman studied in Paris. It was here that he met and was influenced by leading artists including Picasso, Mondrian, and Miro. He was initially influenced by the works of Fernand Leger before moving away from his style and towards totally abstract, geometric compositions. The movements of Cezanne, Post-Impressionism, and Cubism informed the evolution of his style. And while he started out painting, he abandoned two-dimensional for more sculptural works by the end of 1937.In 1941 he married Mary Moore Biederman and in the following year he moved to Red Wing, Minnesota, where he would spend the rest of his life. In the 1950s, he created the term "Structurism" to help define his works from Constructivism and De Stijl. Many prominent collections around the world contain Structurist Reliefs including The Whitney Art Museum, The Metropolitan Museum of Art, and The Tate, London.In 2004, Beiderman died at the age of 98 and his estate was subsequently given to the Weisman Art Museum on the University of Minnesota - Twin Cities campus. They have organized traveling exhibitions of his works.Sight; height: 17 in x width: 14 in. Framed; height: 19 1/4 in x width: 16 1/4 in x depth: 1 1/2 in.Condition: The sheet is slightly toned. The colors are bold and bright. There is a slight undulation to the sheet. Light soiling throughout, as expected from a study. The work is floated in frame. Framed under glass; light wear to the frame. Not inspected out of frame.
Lot 27
After Pablo Picasso (Spanish, 1881-1973). Set of two polished bronze figural sculptures titled "L'Homme et la Femme" depicting a male and female figure cast after a 1965 terracotta mold by the artist. Both with etched signature along the front of the base; editioned 169/175 along the right side of the base.Lot Essay:Pablo Picasso stands as one of the most renowned and prolific artists of the 20th century, whose innovative and groundbreaking work revolutionized the course of Western art. Born in Malaga, Spain, Picasso demonstrated exceptional artistic talent from a young age and received formal training at various art academies. His early works, influenced by Symbolism and the Blue and Rose Periods, showcased his versatility and mastery of traditional techniques.Picasso's career underwent a seismic shift with the advent of Cubism, a movement he co-founded alongside Georges Braque. Cubism shattered conventional notions of perspective and representation, presenting multiple viewpoints simultaneously and breaking objects down into geometric forms. Picasso's seminal work "Les Demoiselles d'Avignon" (1907) marked a turning point in art history, foreshadowing the radical innovations that would follow.Throughout his prolific career, he continued to push artistic boundaries, experimenting with diverse styles and mediums, including sculpture, ceramics, and collage. His involvement with Surrealism and his exploration of African and Iberian art further enriched his artistic vocabulary.Picasso's influence transcended the confines of the art world, shaping the cultural landscape of the 20th century and beyond. His legacy as a visionary artist, innovator, and provocateur continues to resonate, inspiring generations of artists and sparking dialogue about the nature of creativity and artistic expression. Through his relentless pursuit of innovation and his fearless embrace of experimentation, he left an indelible mark on art history, cementing his status as a titan of modernism and one of the most enduring figures in the pantheon of great artists.Each, height: 11 3/4 in x width: 6 in x depth: 3 3/4 in.Condition: There are no dents, losses, or repairs. Light wear along the underside. Some dust throughout.
Lot 26
Pablo Picasso (Spanish, 1881-1973). Graphite sketch on graph paper titled "Self Portrait with Marie-Therese Walter," depicting two portraits along the front of the artist and his lover and model, Marie-Therese Walter (French, 1909-1977). She was the mother of their daughter Maya Widmaier-Picasso (1935-2022). The verso of this piece renders several sketches of various objects including a wardrobe cabinet, a ball, a cage, a snail, a human figure, a dog, and an elegant hound voiding his bowels.Provenance: The Estate of Marie-Therese Walter, France; Private collection, Minnesota.Literature: Josep Palau I Fabre, "Pare Picasso," Barcelona: Ediciones Poligrafa, 1977.Lot Essay:A multi-faceted artist who worked as a sculptor, painter, printmaker, and theater designer, Pablo Picasso is known as the co-founder of the Cubist movement and regarded as one of the most influential artists of the 20th century.The artist was born on October 25, 1881 in Malaga, Spain to Don Jose Ruiz y Blasco (1838–1913) and Maria Picasso y Lopez. His father was a naturalist painter of birds and game as well as a professor of art at the School of Crafts and a curator of a local museum. From the early age of seven, Picasso received formal traditional artistic training from his father, copying work from old masters and rendering the human body through the use of live models and plaster casts.This training took place throughout Picasso’s childhood. In 1891, his family moved to A Coruna where they resided for four years while his father took a position at the School of Fine Arts there. Picasso’s artistic capabilities grew, and even Ruiz claimed that his son had surpassed his own talents. In 1895, his sister, Lola, died from diptheria, and the family moved once again, this time to Barcelona. As a professor at the School of Fine Arts, his father persuaded the institution to let Picasso take the entrance exam for advanced classes at the mere age of thirteen. Though this process typically took a month to complete, Picasso finished in a short week and was accepted into the advanced courses. At age sixteen, Picasso’s father and uncle sent him to the Real Academia de Bellas Artes de San Fernando in Madrid. However, soon after enrollment Picasso stopped attending classes but was instead invigorated by attractions such as the Prado with artistic works by masters Diego Velazquez, Francisco Goya, Francisco Zurbaran, and El Greco.By the time Picasso married his first wife, Olga Stepanovna Khokhlova, in 1918, he had risen to success and acquired some fame and fortune as a forerunner of the Cubist movement, though this contrasted greatly with his humble “starving artist†beginnings and continuing bohemian lifestyle. Khokhlova came from high society and introduced her new husband to formal dinner parties and life of the rich in Paris during the 1920s. This clashed with Picasso’s own world views and inevitably led to the couple’s demise.A long-standing secret affair began in 1927 between Picasso and the then 17-year-old Marie-Thérèse Walter. In 1935, Marie became pregnant and it was then that a friend told Khokhlova about Picasso’s mistress. Khokhlova and Picasso separated, never divorcing, until Khokhlova’s death in 1955. On September 5, 1935, Marie and Picasso’s child, Maria de la Concepcion, called "Maya", was born. Though Picasso financially supported Marie and Maya throughout his life, he never married her and had a number of affairs with other women.Marie was a model and muse for many of Picasso’s paintings, sculptures, and drawings including the sketch seen in this lot. She is typically portrayed as bright and blonde in contrast to the weeping woman persona of Picasso’s other lover, Dora Maar. Though the sketch on the recto of the artist and his lover is masterful and typical of Picasso’s greatest works, the verso renders drawings of dogs, a snail, and other random objects created for the amusement of his daughter, Maya. Both sides demonstrate Picasso’s virtuoso and ability to be playful yet skillful in his artistic works.Height: 5 3/4 in x width: 3 3/4 in.Condition: The drawing is in good condition overall. The drawing is executed on graph paper and has a deckled edge along the right. There is a paper loss along the lower right. A repair to a 1 inch tear that goes from the upper right edge, diagonally downward. Some areas of skinning along the upper left and right corners. Some light surface soiling. Some minor losses and one small tear along the lower edge. The drawing bears light impressions of the drawings on the verso. The drawing is not framed.
Lot 1051
Ginés Parra, Spanish 1896-1960 - Composition; oil on canvas, signed, titled and inscribed on the reverse 'Parra F. 44 Registro 19', 65 x 54 cm (unframed) (ARR) Provenance:a Private Collection of French Naturalist PaintersNote:Parra was part of a group of important Spanish artists fundamental in the avant-garde formation of the École de Paris, alongside Pablo Picasso, Antoni Clavé, Francisco Bores and Joaquín Peinado. The thick impasto of his work is reminiscent of Georges Rouault and his dynamic and layered compositions show an influence of Cubism which was being explored at the time by fellow artists. He exhibited at the Société Nationale des Beaux-Arts, the Salon d’Automne and the Salon des Indépendants. In 2020, a bust of Parra was erected in his birth place of Zurgena, Spain where there are plans to open a museum dedicated to his work.
Lot 1052
Ginés Parra, Spanish 1896-1960 - Tête égyptienne; painted plaster, H24 x W16.5 x D16.7 cm (ARR) Provenance:a Private Collection of French Naturalist PaintersNote:Parra was part of a group of important Spanish artists fundamental in the avant-garde formation of the École de Paris, alongside Pablo Picasso, Antoni Clavé, Francisco Bores and Joaquín Peinado. The thick impasto of his work is reminiscent of Georges Rouault and his dynamic and layered compositions show an influence of Cubism which was being explored at the time by fellow artists. He exhibited at the Société Nationale des Beaux-Arts, the Salon d’Automne and the Salon des Indépendants. In 2020, a bust of Parra was erected in his birth place of Zurgena, Spain where there are plans to open a museum dedicated to his work.
Lot 1049
Ginés Parra, Spanish 1896-1960 - Tête riante; painted plaster, H24 x W28.2 x D19.5 cm (ARR) Provenance:a Private Collection of French Naturalist PaintersNote:Parra was part of a group of important Spanish artists fundamental in the avant-garde formation of the École de Paris, alongside Pablo Picasso, Antoni Clavé, Francisco Bores and Joaquín Peinado. The thick impasto of his work is reminiscent of Georges Rouault and his dynamic and layered compositions show an influence of Cubism which was being explored at the time by fellow artists. He exhibited at the Société Nationale des Beaux-Arts, the Salon d’Automne and the Salon des Indépendants. In 2020, a bust of Parra was erected in his birth place of Zurgena, Spain where there are plans to open a museum dedicated to his work.
Lot 1050
Ginés Parra, Spanish 1896-1960 - Deux femmes assises sur un rocher face à un lac et une forteresse; oil on canvas, signed lower right 'Parra', 54 x 65.4 cm (unframed) (ARR) Provenance:a Private Collection of French Naturalist PaintersNote:Parra was part of a group of important Spanish artists fundamental in the avant-garde formation of the École de Paris, alongside Pablo Picasso, Antoni Clavé, Francisco Bores and Joaquín Peinado. The thick impasto of his work is reminiscent of Georges Rouault and his dynamic and layered compositions show an influence of Cubism which was being explored at the time by fellow artists. He exhibited at the Société Nationale des Beaux-Arts, the Salon d’Automne and the Salon des Indépendants. In 2020, a bust of Parra was erected in his birth place of Zurgena, Spain where there are plans to open a museum dedicated to his work.
Lot 136
An 18ct gold and diamond ‘Paloma’s Graffiti’ necklace by Paloma Picasso for Tiffany & Co., the word ‘love’ in the designer’s own handwriting and set throughout with brilliant-cut diamonds, suspended by a trace-link chain, signed ‘Paloma Picasso’, stamped ‘T&CO.’, London hallmark, length 41cm. £200-£300 --- Condition Report General light surface wear commensuarte with use. The diamonds bright and lively. Gross weight 3.1gm.
Lot 33
PABLO PICASSO (SPANISH 1881-1973) MÈRE ET ENFANTS (B.737) - 1961 Etching with aquatint on Arches laid paper, un-numbered impression aside from the edition of 50, signed in pencil to margin, published by Galerie Louise Leiris the plate 25.4cm x 30.5cm (10in x 12in) Sotheby's, London, Old Master, 19th and 20th Century and Contemporary Prints, 12 December 1991, lot 535; Private Collection, U.K.
Lot 60
PABLO PICASSO (SPANISH 1881-1973), AFTER BOUQUET DE FLEURS (CZWIKLITZER 130) - 1958 Colour lithograph on Chiffon de la Dore wove paper, 43/200, signed and numbered in pencil, signed and dated in plate, published by Éditions Combat pour la Paix, Paris the sheet 66cm x 51cm (26in x 20in), unframed
Lot 183
Emiliano di Cavalcanti (Brazilian, 1897-1976), Figuras, woodcut, signed lower right in pencil and numbered in pencil lower left "48/99", framed, 52 x 66cm. *Born in Rio de Janeiro in 1897, Emiliano di Cavalcanti is regarded as the father of modern Brazilian painting. He lived in Paris from 1923 to 1925 when he met Matisee, Braque, Picasso and Leger and his work demonstrated varying Symbolist, Expressionist and Impressionist influences. When he moved back to Rio de Janeiro he sought to produce form of Brazilian art free of European influences.
Lot 184
Emiliano di Cavalcanti (Brazilian, 1897-1976), Mulher e Coruja, woodcut, signed lower right in pencil, 1972, unumbered from an edition of 99, framed, 49.5 x 66.5cm. *Born in Rio de Janeiro in 1897, Emiliano di Cavalcanti is regarded as the father of modern Brazilian painting. He lived in Paris from 1923 to 1925 when he met Matisee, Braque, Picasso and Leger and his work demonstrated varying Symbolist, Expressionist and Impressionist influences. When he moved back to Rio de Janeiro he sought to produce form of Brazilian art free of European influences.
Lot 460
Jean Charles Blais, French b.1956 - Untitled; oil and collage on paper, signed lower left 'J Charles Blais', 87 x 64 cm (ARR)Note:inspired by the layers of posters and advertisements on the subway, the present lot is a classic example of the artist's work. Blais intervenes on these everyday paper materials by tearing and painting over them. A work on paper from 1987 is the collection of the Tate.Blais has his first solo exhibition in 1982 at the Museum of Contemporary Art, Bordeaux, and then at the Centre Pompidou, Paris in 1987. Blais' works have been exhibited at some of the most preeminent galleries including Yvon Lambert Gallery, Paris, and Castelli Gallery, New York. His works are in major collections including the Pinakothek der Moderne, Munich; Museum of Modern Art, New York; Musée National d'Art Moderne - Centre Pompidou; and the Picasso Museum, Antibes.
Lot 82
David Bomberg, British 1890-1957 - Farm Field, Talgwyn, Red Wharf Bay, 1944; oil on canvas, signed and dated lower right 'Bomberg 44' and bears inscription with title on the reverse of the stretcher, 58.5 x 76 cm (ARR) Provenance: with Boundary Gallery, London (by repute); private collection, London, purchased in 1983 Note: the owner of the work was a close friend and client of Agi Katz, founder and director of Boundary Gallery, who specialised in the work of David Bomberg and other Jewish and émigré artists in Britain; Rosebery's were responsible for selling her Estate in 2022. The work is listed in an inventory made by Agi Katz of the owner's collection. Made towards the end of the Second World War, Bomberg visited Angelsea with his family in 1944, making a number of works of Talgwyn Farm as a respite from the more urban works he had been making. Richard Cork has described these as showing his 'impulsive emtional reaction to the landscape'. This followed an important commission for the War Artists Advisory Committee in 1942 to paint an underground bomb store at RAF Fauld in Tutbury, creating a small body of works that were highly abstracted and almost geometric in form. Bomberg would make more trips across the UK in 1946, making a series of similarly expansive landscapes of Cornwall, Devon and Scotland. These landscapes present a renewed engagement with nature itself and a large number of these are now in public collections including 'Evening, Cornwall, 1947' (Herbert Art Gallery & Museum, Coventry), 'Bideford, Devon, 1946' (Royal Albert Memorial Museum & Art Gallery, Exeter) and a related Welsh landscape, 'Talgwyn Farm, Red Wharf Bay, Anglesea, 1944' (The Art Gallery of Western Australia, Perth). David Bomberg was a member of the Whitechapel Boys. He studied at the Slade School of Art under Henry Tonks, and alongside artists such as Stanley Spencer, Ben Nicholson, and Paul Nash. He was awarded the Slade Prize for drawing in 1913, after which he travelled to France, meeting contemporaries such as Pablo Picasso and Amedeo Modigliani. In 1914 he co-curated an exhibition with Jacob Epstein, in which his works were shown alongside those of Modigliano, Kisling, and other prominent Jewish artists living in France. His first solo exhibition was held at the Chenil Gallery in 1914, where visitors included Augustus John, Marinetti, Duchamp and Brancusi. Bombergs work has been the subject of a number of solo exhibitions, including at the Israel Museum in 1983, at the Tate in 1988, and at the Whitechapel Gallery in 1979 when under the directorship of Nicholas Serota. His works are currently held at MoMA in New York, the Art Institute in Chicago, the Tate in London and National Galleries of Scotland, Edinburgh.
Lot 232
Thomas Nathaniel Davies, British 1922–1996 - Skull with Anemones, 1956; ink and gouache on paper, with Estate stamp and label on the reverse of the frame, 24 x 34 cm (ARR) Provenance: the Estate of the Artist Note: born in Wales, Davies was a vital figure in Post-War British painting, studying under Ceri Richards and part of a generation of modern artists that included Patrick Heron and Robert Colquhoun. Inspired by the post-Cubist style of Picasso and Braque, the present work demonstrates his brilliance and originality as a draughtsman. His works are in the collection of the National Museum, Cardiff, The Ruth Borchand Collection and the National Library of Wales.
Lot 231
Thomas Nathaniel Davies, British 1922–1996 - Harlequin, 1947; ink, watercolour and pastel on paper, with Estate stamp and label on the reverse of the frame, 18.8 x 14 cm (ARR) Provenance: the Estate of the Artist Note: born in Wales, Davies was a vital figure in Post-War British painting, studying under Ceri Richards and part of a generation of modern artists that included Patrick Heron and Robert Colquhoun. Inspired by the post-Cubist style of Picasso and Braque, the present work demonstrates his brilliance and originality as a draughtsman. His works are in the collection of the National Museum, Cardiff, The Ruth Borchand Collection and the National Library of Wales.
Lot 87
Emmanuel Mané Katz, Ukrainian 1894-1962 - Contrebasiste; bronze, signed, stamped with foundry mark and numbered 'EA', H47.3 x W22 x D14 cm (ARR) Provenance: with O'Hana Gallery, London (according to the previous cataloguing of the work); Phillips, 30th November 1987, lot 201; private collection, purchased from the above Note: Although born in Ukraine the artist lived and worked the majority of his life in Paris, becoming affiliated with the School of Paris from the 1920s onwards, and working closely alongside Pablo Picasso. This particular painting was completed later in his career and is typical of his oeuvre of this period. His expressive brushstrokes and interesting use of colour create a bold and dynamic composition.
Lot 230
Thomas Nathaniel Davies, British 1922–1996 - Sphinx, c.1946; ink and pastel on paper, with Estate stamp and label on the reverse of the frame, 18.2 x 26.8 cm (ARR) Provenance: the Estate of the Artist Note: born in Wales, Davies was a vital figure in Post-War British painting, studying under Ceri Richards and part of a generation of modern artists that included Patrick Heron and Robert Colquhoun. Inspired by the post-Cubist style of Picasso and Braque, the present work demonstrates his brilliance and originality as a draughtsman. His works are in the collection of the National Museum, Cardiff, The Ruth Borchand Collection and the National Library of Wales.
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