Picasso, Pablo. - Sabartès, Jaime. "A los toros" mit Picasso. 153 S. Mit 103 Abbildungen und 4 (1 farbigen) Original-Lithographien von Pablo Picasso. 25,5 x 32,5 cm. Illustrierter OLeinenband (Rücken leicht verblichen in illustriertem OPappschuber (leicht lichtrandig, gering berieben). (Monte Carlo), André Sauret, (1961).Bloch livres 108. Goeppert-Cramer 113. Mourlot 346 und 348-350. - Erste deutsche Ausgabe. Die 4 Original-Lithographien wurden von Picasso eigens für dieses Werk geschaffen und von Mourlot gedruckt: "La Pique" (Bl. 1014), "Jeu de la Cape" (Bl. 1015), "Les Banderilles" (Bl. 1016) und die Farblithographie "Le Picador" (Bl. 1017). - Nahezu verlagsfrisch.Provenienz: Einfügung aus 106.0104.02 (Los 3326), 07.08.2019 [Ex: Einfügung aus 104.0501.01 (Los 3576) , 09.06.2015 18:07:42. [Ex: Einfügung aus 103.0270.03 (Los 3700) , 22.08.2014 15:19:21.]
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A QUANTITY OF PAINTINGS AND PRINTS ETC, to include a limited edition Pablo Picasso print 'Taureau' 62/1000 with certificate, authorised by the Picasso Estate, approximate size 30cm x 53cm including margins, Michael Blacker dry point etching of boats on a river, Joan Miro poster print 'The Gold of the Azure', Beverley Fry prints, amateur watercolours signed Milburn, Sue Roots limited edition etching, together with other assorted prints etc
Antique European School Frame, Bearing Picasso Label "Picasso Portrait 1942" verso. Provenance: The historic period frame collection of Eli Wilner. The collection previously included frames adorning 28 paintings on the walls of the White House, as well as the hand-carved and gilded eagle- crested frame for Washington Crossing the Delaware by Emanuel Leutze, which is currently featured as the focal point of the American Wing at The Metropolitan Museum of Art in New York City. Rabbet Size: 25.25 x 18.75 in. Overall Framed Size: 31 x 25 in. (11-58) - We recommend looking into shipping quotes prior to bidding on these frames, a list of local shippers can be found on our website. - All items are sold as-is where-is and no guarantees are made of any kind. These frames may have minor imperfections and refunds are not offered due to condition. - Due to the size of our gallery, these frames are stored offsite, viewing of the frames will be by appointment only.
ARCADIO MÁS Y FONDEVILA (Barcelona, 1852-1934)La siega" ("The Harvest").Mixed media on paper.Signed in the lower left corner.Size: 60 x 44 cm; 70 x 95 cm (frame).This is one of the many drawings that the author made for the graphic magazine La Ilustració Catalana at the end of the 19th century.A painter and draughtsman and founder of the Sitges school of luminists, Arcadi Mas i Fondevila trained at the Escuela de La Lonja in Barcelona, where his teachers were Antonio Caba and Claudio Lorenzale. At the age of twenty he took part in his first group exhibition, organised in the hall of the Barcelona Artistic Association. In 1875 he won the first Fortuny scholarship from the Barcelona City Council, which enabled him to further his studies by travelling to Italy on a scholarship between 1876 and 1886. During these years, Arcadi Mas i Fondevila visited Venice, Rome, Naples and Capri, while taking part in several group exhibitions at the Sala Parés in Barcelona. Ascribed to the Neapolitan naturalist school of Domenico Morelli, in 1885 he also took part in the exhibition of the Centre of Watercolourists in Barcelona. On his return to Catalonia, his friend Joan Roig Soler encouraged him to visit Sitges, and from this meeting and acquaintance the Sitges Luminist school was born, a pictorial current that brought together other artists such as Joaquim de Miró, Antoni Almirall and Joan Batlle. In 1887 he took part in the National Exhibition of Fine Arts in Madrid, and won a medal for his work "Corpus Christi Procession in Sitges". He also took part in the Universal Exhibition in Barcelona the following year, winning the first medal. In 1895 he travelled to Madrid again, this time accompanied by Santiago Rusiñol and Zuloaga, and later went to Granada with Rusiñol, Miguel Utrillo and Macari Oller, with the intention of illustrating some articles by Rusiñol for "La Vanguardia". Mas i Fondevila won two more medals at the Barcelona Fine Arts Exhibitions of 1894 and 1896, and in 1899 he became a member of the Círculo Artístico de Sant Lluc. In 1900 he opened the Rovira Salon in Barcelona with his first individual exhibition, a show that established him as a master of pastel painting. An example of the importance of this painter can be found in the fact that Picasso had copied a nude of his from 1895. At this time, moreover, Mas i Fondevila collaborated as a draughtsman in "La Ilustració Catalana". Thanks to a donation from the American patron Charles Deering, in 1913 he painted the tympanum of the portal of Santa Catalina in the church of San Bartolomé and Santa Tecla in Sitges. Today a copy can be admired "in situ", the original having been erased by the passage of time. In 1928 he was commissioned to paint one of the murals in the Sala de Sant Jordi in the Palace of the Generalitat in Barcelona, and in 1932 he again exhibited individually, this time in the La Pinacoteca room. On the occasion of the fiftieth anniversary of his death, the Sitges Study Group devoted an anthological exhibition to him at the Maricel Museum (1985). In his painting, Mas i Fondevila combined Catalan localism with his Neapolitan memories. He also painted portraits, with outstanding works such as those of Antonio Caba and Pitarra. He is represented in the Museu Nacional d'Art de Catalunya, the Maricel, the Cau Ferrat and Sitges Town Hall, as well as in other museums and private collections.
Heckroth, Hein (1901 Gießen - 1970 Alkmaar)"Hommage à Poussin" (Liegendes Paar). Federzeichnung, 1962. Signiert und datiert unten rechts, betitelt unten links. Hinter Glas gerahmt. 30 x 38 cm (Bl), 70 x 50 cm (Ra). Lichtrandig und angebräunt. Sinnlich reduzierte Schilderung eines halb aufgestützt liegenden Paares als Akt, wohl in Referenz auf die freizügige und doch phantasievoll anregende Erotik in den Werken des französischen Barockmalers Nicolas Poussin. Kompositorisch erinnert das Blatt ebenso an Künstler-Modell-Szenen von Pablo Picasso, v.a. aus der Suite Vollard. Hommage à Poussin (Resting couple). Ink drawing, 1962. Signed and dated bottom right, titled left. Framed behind glass. Tanned by the sunlight. Erotic reference to the Baroque paintings by Nicolas Poussin, also reminding of artist-and-model-scenes by Picasso.
Sido and François TheveninImportant, monumental and unique 'Musique au Paradis' wall-mounted sculpture, 1974Bronze, brass, iron.Overall: 131 x 234 x 5.5 cm Tree root collar impressed SIDO AND FRANÇOIS/THEVENIN/GTS/FT/CANNES/1974.Together with a certificate of expertise from Nicolas Thevenin.Footnotes:ProvenanceGalerie Drouant, Paris, 1974Aga Khan IV, acquired from the aboveAndré Malizard, Villefranche-Sur-Mer, France, 1970sAcquired from the above, private collection, Villefranche-Sur-Mer, France, 2002Thence by descent to the present ownerExhibitedGalerie Drouant, Paris, 1974A FEW THINGS ABOUT SIDO AND FRANÇOIS THEVENIN. Nicolas Thevenin François Thevenin was born in Aix-en-Provence, France in 1931, and Sido (Gisèle Sidoti), Casablanca, Morocco in 1934. Sidoti was her maiden name, which led to her artist's pseudonym Sido and is the reason why some works are impressed GTS: Gisèle Thevenin Sidoti. Both artists' careers began from an early age. François achieved first place for modelling clay in year two, sculpting spontaneously and ambitiously the impressive 'Montagne Sainte-Victoire'. At age five, Sido made local news headlines for a sandcastle contest at the beach, having sculpted a shepherd and her sheep that measured a monumental four meters long, commenting 'It is fun shaping forms!' In 1952, François and Sido met at the Beaux-arts de Paris, where they studied under the direction of the sculptor and painter Louis Leygue. Following an un-official marriage celebrated with close friends, who described how, 'these two spend too much time together', François and Sido officially married in 1954. After welcoming their first child Dominique in 1955 in Paris, they settled in Cannes in the French Riviera between 1957-1958. In 1961, François and Sido worked with the artist Jean Cocteau on the sundial 'Les Lézards' for the village Coaraze in the Alpes-Maritimes above Nice. This commission comprised one of François and Sido's earliest artistic collaborations and works in metal. François and Sido had progressed toward working in metal following an overwhelming and precarious disappointment. For many months, they had shaped and sculpted hundreds of raw terracotta figures, a 'real pacific and sympathetic army'. When it came time to bring the works to be fired at a kiln in Vallauris, they carefully packed up every figure into the car and set off. Alas, a sneaky bump at the entrance of the facility reduced their fastidious three months of artistic production to utter dust and detritus. However, this unfortunate event led to a fortunate outcome, convincing François and Sido to turn towards the far more durable medium of metal. Another collaboration began after meeting Jacques Couëlle, acknowledged as 'the architect of billionaires', whose ideas and appreciation for execution appealed to François and Sido. In 1962, they began working with the architect on Castellaras Estate in Mouans-Sartoux, France, applying their artisanal skill within the space to create door furniture, lighting, among other interior fittings and fixtures. Whilst working with Couëlle, François and Sido became close friends with the actor Marcel Duhamel, who subsequently introduced them to the brothers Jacques and Pierre Prévert, Pablo Picasso (who often visited their workshop, commenting that it reminded him of Bateau-Lavoir, his workshop in Montparnasse), Yves Tanguy, Brassaï, and many others. In 1966, Sido gave birth to their second son Nicolas in Cannes. During this time, François and Sido worked on several international commissions, including work in Montreal, New York, and Santiago del Chile. François and Sido also collaborated with Couëlle's son Savin, the architect for Porto Cervo, Sardinia, which was initiated by the Aga Khan IV. The artists and architect worked together for decades, becoming a symbiotic alliance, that could be thought of as almost genetic, as Savin would incorporate François and Sido's sculpture and objects into his architecture, while the two artists would intricately form Couëlle's volumes into their sculpture. This close collaboration developed through many projects across several continents, resulting in sculptural pieces of furniture that includes tables, seating, lighting, doors, grills, and handrails, many of which were unique works of art. Together François and Sido created a vast collection of work and exhibited at prestigious galleries, including Drouant, Paris in 1972, and Cartier in 1980. Their work, which extends from furniture to sculpture, painting, drawing and etchings, was continually inventive and conveyed an organic, unexpected, and enchanting world for their viewers. In 1986 Sido passed away at age 52, followed by François in 2016 at age 85, both in their shared house-workshop in Cannes.This lot is subject to the following lot symbols: * AR TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
▴ Pablo Picasso (Spanish, 1881-1973)'Danse du ventre devant homme impassible' (Bloch 1898)etching, 1970, with a stamped signature, numbered 21/50 in pencilplate mark 27 x 35cmLiterature: Georges Bloch, 'Pablo Picasso Catalogue of the printed work 1970-72', vol IV (Berne, 1979), no.1898, p.76Condition ReportFramed size: 53 x 59cm.Viewed out of glazed frame, 4 small pieces of mounting tape holding work in place, overall in good condition.
▴ After Pablo Picasso'Femme au Beret' (1979-82)lithograph in colours on Arches paper, signed 'Collection Marina Picasso' in pencil l.r. and numbered '133/500' l.l., bears blind stamp73.5 x 52.5cm, unframedSold with a certificate of authenticity stating that this is 'A limited edition after a work by Pablo Picasso'.After Picasso's death in 1973, his granddaughter, Marina Picasso, authorised the printing of this series of lithographs. They were created from paintings by Picasso and were printed by Laurent Marcel Salinas.Condition ReportSome yellowing to paper, please see images.
▴ After Pablo Picasso'Notre Dame' (1979-82)lithograph in colours on Arches paper, signed 'Collection Marina Picasso' l.r. and numbered '255/500' l.l., bears blind stamp75.5 x 55.5cm, unframedSold with a certificate of authenticity stating that this is 'A limited edition after a work by Pablo Picasso'.After Picasso's death in 1973, his granddaughter, Marina Picasso, authorised the printing of this series of lithographs. They were created from paintings by Picasso and were printed by Laurent Marcel Salinas.Condition ReportVery light crease to edge of top corner, otherwise in good condition.
▴ After Pablo Picasso'Femme au Fauteuil Canne' (1979-82)lithograph in colours on Arches paper, signed 'Collection Marina Picasso' in pencil l.r. and numbered '75/500' l.l., bears blind stamp76 x 55.6cm, unframedSold with a certificate of authenticity stating that this is 'A limited edition after a work by Pablo Picasso'.After Picasso's death in 1973, his granddaughter, Marina Picasso, authorised the printing of this series of lithographs. They were created from paintings by Picasso and were printed by Laurent Marcel Salinas.Condition ReportA crease to lower left corner, otherwise in good condition.
2012 Citroen Picasso motor car, silver, petrol, manual gearbox, registration number HN62 CTY, approx 54,945 miles, MOT to 24/8/23, no V5.TO BE SOLD AT 12 NOONWe ask that all potential new bidders wishing to bid on a vehicle, please be aware that prior to the sale they will need to provide full ID in the form of a driving licence/passport and a copy of a utility bill.Buyer's premium is 10% (12 % incl VAT) on the hammer price.Agents buying on behalf of a third party must have written authority from their principal clearly stating their authorisation to bid.We will also require a 10% deposit of the lower estimate at the time of registering, which can be made during the viewing period. If unsuccessful, then we will issue a refund immediately.There will be no internet bidding on vehicles.
Pablo Picasso by Christian Zervos - Vol 6 Publisher: Editions "Cahiers D'Art", Paris Publication Date: 2013 Book Type: Catalogue Raisonne Numbered: 6/1000 In 1932, Cahiers d'Art published the first volume of the Picasso Catalogue, a project prepared by Christian Zervos in partnership with Picasso himself. This massive undertaking became Zervos's life work and one of the most influential pieces of scholarship on the 20th century's most renowned artist. These books are part of a historic 33-volume set. The Zervos comprises 33 volumes and more than 16,000 images and was the result of an intense four-decade ( 1932 to 1978 ) collaboration between Picasso and Christian Zervos. Book Dimensions: 12.75 x 10 x 2 in.
Pablo Picasso by Christian Zervos - Vol 8 Publisher: Editions "Cahiers D'Art", Paris Publication Date: 2013 Book Type: Catalogue Raisonne Numbered: 6/1000 In 1932, Cahiers d'Art published the first volume of the Picasso Catalogue, a project prepared by Christian Zervos in partnership with Picasso himself. This massive undertaking became Zervos's life work and one of the most influential pieces of scholarship on the 20th century's most renowned artist. These books are part of a historic 33-volume set. The Zervos comprises 33 volumes and more than 16,000 images and was the result of an intense four-decade ( 1932 to 1978 ) collaboration between Picasso and Christian Zervos. Book Dimensions: 12.75 x 10 x 2 in.
TWO REPRODUCTION FRENCH EXHIBITION POSTERS 'Aix En Provence - Collection d'un Amateur Parisien - Picasso, Braque, Dufy, Leger, Miro and Rouault', Pavillon de Vendome, 10th July - 23rd September 1958 and 'Lithographies de Maitres Contemporains - Chagall, Miro, Picasso, Braque, Matisse and Villon', Chateau de Goutelas-en-Forez, 30th July - 15th September 1966, both framed and glazed (2)
ANDY WARHOL 1928 - 1987 PALOMA PICASSO (AUS: AMERICA'S HOMMAGE À PICASSO) 1975 Farbserigraphie auf Arches. Rückseitig signiert. Ex. 11/90. Propyläen Verlag, Berlin/Pantheon Presse, Rom. 104 x 70 cm. Feldmann / Schellmann 121. (Professionell restauriert und gereinigt, Flecken noch schwach sichtbar).
JEAN COCTEAU (1889-1963)Quatre-profils signé à la main Jean Cocteauplat en terracotta avec feutre noir et pasteldiamètre 39 cm. (15 3/8 in.)Exécuté en 1958.hand signed Jean Cocteaupastel and black felt-tip pen on terracotta plateConceived in 1958.Footnotes:BibliographieA. Guédras, Jean Cocteau céramiques, Paris, 1989, cf n° 6Jean Cocteau rencontre la poterie dans les dernières années de sa vie. Alors qu'il s'est illustré dans de nombreux champs artistiques, il se tourne en 1957 vers ce nouvel art dans lequel il trouva un réconfort salvateur et une source d'inspiration infinie. En 1956, alors qu'il est promu Dr Honoris Causa par l'Université d'Oxford, il entreprend les fresques de la mairie de Menton et de la chapelle St-Pierre à Villefranche-sur-mer. C'est dans cette petite commune de côte d'Azur entre montagne et mer qu'il rencontra un an plus tard le couple de céramistes Philippe Madeline et Marie -Madeleine Jolly. Ce sera le début d'une émulation artistique fructueuse et d'une profonde amitié qui dureront jusqu' à la mort de Jean Cocteau en 1963. « La poterie m'a sauvé la vie ! Elle m'évite d'utiliser l'encre qui est devenue trop dangereuse car tout ce qu'on écrit est systématiquement déformé par ceux qui le lisent...... Picasso m'avait dit que si je mettais une céramique au four, j'étais perdu. Mais j'ai toujours eu le goût de me perdre avec délice. »En 1946, Philippe Madeline ingénieur de formation épouse Marie-Madeleine Jolly faisant carrière dans la publicité après avoir fait l' Ecole des Arts-Décoratifs de Paris. Ils ouvrent leur atelier surplombant la mer à Saint-Michel de Villefranche-sur-mer. Marie-Madeleine crée des bijoux, et Philippe est en charge de la technique et de la fabrication des moules. Philippe admirait le travail de Cocteau et espérait pouvoir le rencontrer par le biais de connaissances communes. Lassé d'attendre, il décida de provoquer le destin.« J'avais envie de faire un essai et grand scrupule à le faire sans autorisation. (...) Pourtant un jour la tentation a été trop forte (...) J'ai mis trois pièces au four... J'en ai cassé une de suite (...) J'ai fait porter les deux autres à Santo-Sospir comme on jette une bouteille à la mer... Trois heures après Jean était là, mes plats sous le bras, m'interpellant comme s'il m'avait quitté la veille. »C'est ainsi que Jean devint « apprenti » et commença sa formation à raison d'un après-midi sur deux à l'atelier. « Jean Cocteau travaille dans une tension extrême. Il a pris comme dit Jean Marais « sa tête d'assassin ». Il est devenu impossible de poursuivre sa propre besogne à côté de lui. Personne ne parle. On marche sur des « pieds de silence ». Lui est comme un chirurgien au milieu de son équipe. » Jean Cocteau, « grand Maître du trait », ne retient que l'essentiel, le style est net, dépouillé. Philippe Madeline déclara « Comment ne pas être subjugué par son graphisme équilibré, rigoureux sans être géométrique, tendre sans mièvrerie... » Jean Cocteau et le couple Madeline Jolly créèrent jusqu' à la mort de l'artiste en 1963. De cette collaboration naitra 300 céramiques. Cette vente raconte cette synergie exceptionnelle entre l'art et l'artisanat en mettant en lumière le processus de création : des dessins préparatoires aux modèles originaux en passant par les pièces d'essai. Ces œuvres, qui reprennent les inspirations chères à Cocteau lui ont valu le surnom de « Poétier de Villefranche ». Elles sont aussi les témoins d'une rencontre prodigieuse entre Cocteau et Madeline Jolly et de leur amitié sans faille. Jean Cocteau comes to pottery in the final years of his life. Having distinguished himself in many artistic fields, in 1957 he turned to this new art in which he found both solace and an infinite source of inspiration.In 1956, after being awarded Doctor Honoris Causa by the University of Oxford, he undertook the frescoes of Menton town hall and the chapel of St-Pierre in Villefranche-sur-Mer. It was in this small town on the Côte d'Azur between the mountains and the sea that he met a year later the ceramist couple, Philippe Madeline and Marie-Madeleine Jolly. It would be the beginning of a fruitful artistic exchange and a deep friendship that would last until the death of Jean Cocteau in 1963.'Pottery saved my life! It saves me from using ink which has become too dangerous because everything we write is systematically distorted by those who read it...... Picasso told me that if I put a ceramic in the oven, I was lost. But I've always taken great delight in losing myself.'In 1946, Philippe Madeline, an engineer by training, married Marie-Madeleine Jolly, who was pursuing a career in advertising following her studies at the School of Decorative Arts in Paris. They open a workshop overlooking the sea in Saint-Michel de Villefranche-sur-mer. Marie Madeleine creates jewelry, with Philippe in charge of the technique and mould-making.Philippe admired the work of Cocteau and hoped to meet him through mutual acquaintances. Tired of waiting, he decided to take things into his own hands.'I wanted to try something yet had great qualms about doing it without permission. (...) Yet one day the temptation was too strong (...) I put three pieces in the oven... One broke right away (...) I had the other two sent to Santo-Sospir, just as one might throw a bottle into the sea... Three hours later Jean was there, my pottery plates under his arm, calling out to me as if we had just seen each other the day before.'This is how Jean became an 'apprentice' and began his training every other afternoon in the workshop. 'Jean works under great tension. He starts to take on, as Jean Marais says, 'the look of an assassin'. It has become impossible Cocteau to pursue one's own work beside him. No one is speaking. We walk on 'silent feet'. He is like a surgeon surrounded by his team. »Jean Cocteau, 'grand Master of the pencil stroke' retains only the essential; the style is clean, minimal. Philippe Madeline declared: 'How not to be captivated by its harmonious graphism, rigorous without being geometric, tender without sentimentality...'Jean Cocteau and the couple Madeline-Jolly worked together until the artist's death in 1963. From this collaboration were born 300 ceramics. This sale recounts this exceptional synergy between art and craftsmanship by highlighting the creative process: from sketches to original models and working proofs. These works, which drew on inspirations dear to Cocteau, earned him the nickname 'Poetter of Villefranche'. They are also witness to the exceptional encounter between Cocteau and the Madeline-Jolly couple and to their unfailing friendship.'Combien de mois a duré ce travail pour réaliser toutes ces poteries ?Jean Cocteau : ʻJe ne sais plus, mais... voilà il faut en effet une collaboration étroite, je dirais qu'il faut le feu de l'amitié et l'amitié du feu... ʼ ''How many months of work were needed to make all this pottery?Jean Cocteau: ʻI don't know anymore, but... indeed it requires a close collaboration, I would say that it requires both the fire of friendship and the friendship of fire...ʼ '... 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
JEAN COCTEAU (1889-1963)Arlequin signé et daté Jean Cocteau 1958Pastel sur papier bleu 35 x 33 cm. (13 3/4 x 13 in.)Exécuté en 1958.Cette œuvre est le dessin préparatoire pour la céramique. signed and dated Jean Cocteau 1958pastel on blue paper Conceived in 1958.This work is the preparatory drawing for the ceramic.Footnotes:L'arlequin est une figure emblématique et récurrente de l'univers de Cocteau. Lors de sa dédicace à Georges Auric, dans « Le Coq et l'Arlequin », Jean Cocteau déclara: « J'admire les Arlequins de Cézanne et de Picasso mais je n'aime pas Arlequin. Il porte un loup et un costume de toutes les couleurs. Après avoir renié le chant du coq, il se cache. C'est un coq de la nuit. »The harlequin is an emblematic and recurring figure in the universe of Cocteau.In his dedication to Georges Auric, in 'Le Coq et l'Arlequin', Jean Cocteau declared:' I admire the Harlequins of Cézanne and Picasso but I don't like Harlequin. He wears a mask and a costume of all colours. After denying the cockcrow, he hides away. He is a cock of the night. '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
Crompton (Gigi, née Richter, art conservator, botanist and author, 1922-2020).- Collection of material from the archive of Gigi Crompton, including a first edition of A Visit to Morin with a presentation inscription from Greene, printed ephemera, 2 loose photographs, and c.30 letters from various correspondents, letters autograph or typed and signed, some scribbles or creases, folds, v.s. v.d., 1942-1966 (sml qty).⁂ A fascinating and assorted archive of letters with notable correspondents as Graham Greene, Valentine Penrose (née Boué, poet, surrealist artist and first wife of Roland Penrose), Sir John Rothenstein (longest standing director of the Tate Gallery from 1938-64), Gian Carlo Menotti (Italian-American composer and playwright), and Dojean and Peter Smithers (conservative politician and possible inspiration for Ian Fleming's James Bond). Other notable features include a scarce a Penang postage stamp to the Greene postcard, and various curious mentions of Picasso - another figure on the periphery of this group.Though lesser-known herself, Crompton cultivated a close friendship circle of artistic and literary luminaries who write fondly and extensively of their lives across the early 1940s to the 1960s. Highlights of some of the Greene letters include invitations from the writer "is there any chance of tempting you and Gigi on a holiday with me and Catherine? by the luck of the game I've got a lot of kroner in Sweden...", and a brief update regarding his refuge in France after he was swindled by his financial advisor, Tom Roe in 1965 "circumstances have driven me to take up residence in France....I'm not allowed back to England for about fifteen months". The postcard from Graham Greene has a desirable Malaya/Penang postage stamp. Her sister-in-law, Catherine Walston, had a 14-year affair with Greene and the Cromptons rented a cottage on the Walston estate for many years.Other notable mentions feature from Dojean Smithers, "Warsaw tomorrow. Picasso and Eluard are here. Picasso has brought some of his pottery (magnificent). I asked Leger what he thought of it. He said 'trés joli'. Another picturesque figure is to Davidson, American sculptor, who looks exactly like Karl Marx..."; and in another letter she notes "Picasso's play was quite wonderful, though I can't imagine how the London Gallery was able to clean up the mess. WHO played La Tarte?...". Letters from Menotti excuse himself for his late note "I have a weakness for old maids and unanswered letters which explains my aversion to marriage and correspondence"; and copious mentions of concerts - "I've corrected so many pages of score that my eyes began to revolt".Overall an expansive and delightful insight into the lives of a close-knit artistic circle.
Vanessa Bell (British, 1879-1961)Street Scene in Tuscany oil on panel25.4 x 35.9 cm. (10 x 14 1/8 in.)Painted in 1912Footnotes:ProvenanceThe Artist's EstateWith Anthony d'Offay, London, 1983, where acquired byMrs M. Cohen, thence by descent to the present ownerPrivate Collection, U.K.ExhibitedLondon, Anthony d'Offay, Vanessa Bell. Paintings and Drawings., 20 November-12 December 1973, cat.no.6Vanessa Bell visited Italy in the spring of 1912 with Clive Bell and Roger Fry, and painted several small oil on panel townscapes in Pisa and elsewhere. Street Scene in Tuscany is a rare, early example painted with impressionistic fluidity and colour hues typical of the period. Bell had seen the ground-breaking exhibtion, Manet and the Post-Impressionists organised by Roger Fry at The Grafton Galleries in 1910 with works by Gauguin, Cézanne, Matisse and Van Gogh. In 1912 her work was included in the Second Post-Impressionist Exhibition where, alongside Duncan Grant, she found herself in the company of Pablo Picasso and Henri Matisse. We are grateful to Richard Shone for his assistance in cataloguing this lot.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
Theodor Werner1886 Jettenburg - 1969 MünchenOhne Titel. 1950Unten links signiert und datiert. Mischtechnik auf Karton. 50 x 40 cm. In den 50er Jahren experimentierte Theodor Werner mit verschiedenen Stilen und Kombinationen der autonomen Gestaltungsmittel Farbe, Linie und Struktur. Die künstlerische Entwicklung des Deutschen war ein langer Weg: bis in die 1930er Jahre malte er noch gegenständlich. Auf der Biennale in Venedig kam er erstmals mit den Originalen der Impressionisten in Kontakt und infolge dieses Erlebnisses traf ihn der Wunsch nach Paris zu ziehen. In der französischen Hauptstadt angekommen, ließ er sich von den Werken Cézannes inspirieren, trat in Kontakt mit Gris, Braques und Picasso und fand seinen Weg zur Reduktion des Motivs bis hin zur vollkommenen Gegenstandslosigkeit. Heute wird er dem Informel zugeschrieben. Als "abstrakt" bezeichnet, scheint das Gemälde von der Form menschlicher Gestalten auszugehen. Dynamik, fast Spontanität, treibt die Komposition und die eckige Linienführung gibt der Leichtigkeit doch eine gewisse Härte. Werner reduziert seine Farbpalette auf wenige, stark kontrastierende Töne, was eine Tendenz zur Großflächigkeit als Folge hat. Seine Kompositionen sprechen den Betrachter - durchaus gewollt - unmittelbar an. Vgl. Abb.Kat. Ausst. 1981, Karl und Faber. Theodor Werner, Ausgewählte Arbeiten 1941 - 1968. B 28/1950 Recif. Tempera auf Leinwand. 100 x 81. Rückseitig signiert, betitelt und datiert. Lohkamp 203. Inv. -Nr. T.W. 652 Literatur: Brigitte Lohkamp: Theodor Werner. Ein Beitrag zur Geschichte der deutschen abstrakten Malerei und Künstlerästhetik. Phil. Diss. München 1975. Theodor Werner, Conrad Westpfahl - Rhythmisierung im Bildraum Weber, Carolin. - München: Galerie Maulberger, [2015], [1. Auflage] Rahmen Provenienz: Privatsammlung
JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983).Untitled. 1972.Wax on paper.The support, paper, is the cover of a copy of "Tapís de Tarragona" (limited edition).Signed and dated in the lower right-hand corner.Certificate of authenticity ADOM enclosed.Measurements: 29,5 x 22 cm; 66 x 57 cm (frame).Original drawing by Miró, made with crayons. The degree of abstraction of the lines with which Miró represents the human figures here is genuinely Miróian: the arches ending in circles that symbolise eyes, the chromatic symbolism (blue, black, yellow, red), the concentric circles as a metaphor of eternal return of the cycles of renovation and fertility... take us back to a long path of conceptual and formal search that began with the Romanesque frescoes, that is, with the mystical eye and spiritual schematism.In 1966, Maria Dolors Miró, Joan Miró's daughter, was involved in a serious accident when her car was hit. Maria Dolors was treated in Tarragona, and in gratitude for the care she received, Joan Miró presented the city's Red Cross with a work, the Tapís de Tarragona, which he made in collaboration with the artist Josep Royo. This work is in the Museu d'Art Modern de Tarragona. In 1972, the book "Tapís de Tarragona" was published in a limited edition, with ten lithographs by Miró, and texts by Rafael Orozco, Maria Luisa Borrás and Josep Royo. A total of 1100 copies were printed. Of these, 100 copies were printed on Sala Gaspar watermarked paper, signed in pencil by the artist, and 1,000 copies on Sarrió paper. It is catalogued in "Miró's illustrated books", Patrick Cramer, Publisher. Geneva.Joan Miró trained in Barcelona and made his individual debut in 1918 at the Galeries Dalmau. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. There, under the influence of the surrealist poets and painters, he gradually matured his style; he tried to transpose surrealist poetry to the visual, based on memory, fantasy and the irrational. His third exhibition in Paris in 1928 was his first great triumph: the Museum of Modern Art in New York acquired two of his works. He returned to Spain in 1941, and that same year the museum devoted a retrospective exhibition to him which was to be his definitive international consecration. Throughout his life he received numerous awards, such as the Grand Prizes at the Venice Biennale and the Guggenheim Foundation in Venice, the Carnegie Prize for Painting in Venice, the Gold Medals of the Generalitat de Catalunya and of the Fine Arts, and was awarded honorary doctorates by the universities of Harvard and Barcelona. His work can currently be seen at the Joan Miró Foundation in Barcelona, the Thyssen-Bornemisza Museum, the MoMA in New York, the Reina Sofía Museum in Madrid, the National Gallery in Washington, the MNAM in Paris and the Albright-Knox Art Gallery in Buffalo.
ALBERT RÀFOLS CASAMADA (Barcelona, 1923 - 2009).Untitled, 1967.Mixed media and collage on wood.Signed and dated in the lower right corner.Measurements: 52 x 52 cm .Painter, teacher, writer and graphic artist, Ràfols Casamada enjoys great international prestige today. He began in the world of drawing and painting with his father, Albert Ràfols Cullerés. In 1942 he began studying architecture, although he soon abandoned it to devote himself to the plastic arts. His father's post-impressionist influence and his particular cézannism mark the works presented in his first exhibition, held in 1946 at the Pictòria galleries in Barcelona, where he exhibited with the group Els Vuit. Subsequently, he gradually developed a poetic abstraction, amorphous in its configuration, free and intelligent, the fruit of a slow gestation and based on atmospheres, themes, objects or graphics from everyday life. Ràfols Casamada worked with these fragments of reality, of life, in a process of disfigurement, playing with connotations, plastic values and the visual richness of the possible different readings, in an attempt to fix the transience of reality. In 1950 he obtained a grant to travel to France, and settled in Paris until 1954. There he became acquainted with post-Cubist figurative painting, as well as with the work of Picasso, Matisse, Braque and Miró, among others. These influences were combined in his painting with that of American abstract expressionism, which was developing at the same time. When he finally returned to Barcelona he embarked on his own artistic path, with a style characterised by compositional elegance, based on orthogonal structures combined with an emotive and luminous chromaticism. After showing an interesting relationship, in the sixties and seventies, with neo-dada and new realism, his work has focused on purely pictorial values: fields of colour in expressive harmony on which gestural charcoal lines stand out. He has received many awards, such as the National Plastic Arts Award from the Ministry of Culture in 1980, the Creu de Sant Jordi in 1982 and the CEOE Prize for the Arts in 1991. In 1985 he was named Knight of the Order of Arts and Letters of France, and is an honorary member of the Royal Academy of Fine Arts of San Fernando in Madrid. In 2003 the Generalitat awarded him the National Visual Arts Prize of Catalonia, and in 2009, just two months before his death, Grup 62 paid tribute to him at the Museu Nacional d'Art de Catalunya. His work can be found in the most important museums around the world: the Reina Sofía in Madrid, the Guggenheim and MOMA in New York, the Museum of Modern Art in Los Angeles, the Picasso Museum in France, the Georges Pompidou in Paris and the British Museum and Tate Gallery in London, among many others.
"CORNEILLE"; GUILLAUME CORNELIS VAN BEVERLOO (Belgium, 1922 - France, 2010).Untitled, 1992, from the series "Olympic Suite".Lithograph on Velin d'Arches paper, copy 110/250.Signed, dated and justified by hand.This work is part of the "Suite Olympic Centennial", complete edition 110/250, which will be auctioned on 27 September 2022, in 50 consecutive lots numbered 35245230 to 35245280.Measurements: 90 x 63 cm.The Olympic Suite is made up of fifty lithographs and serigraphs chosen to represent various contemporary artistic trends. It was published to commemorate the first centenary of modern Olympism. The artists chosen work in very diverse movements and styles, from the hyperrealism of Antonio López to the abstraction of Sol Lewitt, including abstract expressionism, the geometrism of Arden Quin, conceptual art, pop art, the new realism of Baldaccini and Rotella, and the new fauvism of Dokoupil, among others. Among the artists represented there are creators of great international renown, widely recognised by critics.Better known by his pseudonym Corneille, Guillaume Cornelis van Beverloo was a Belgian painter and printmaker of Dutch parents. He began studying art in 1940 in Amsterdam, where he met painters such as Constant and Karel Appel. Interested in the work of Pignon, Matisse and Picasso, he began exhibiting in 1946. He visited Hungary shortly afterwards, where he discovered Surrealism and was influenced by the painting of Klee and Miró. Along with Appel, Constant and others, Corneille was a member of the Dutch "Experimentale Group", collaborated with the magazine "Reflex" and took part in the CoBrA movement (1948-1951). After the dissolution of the latter group, he moved to Paris. Two years later, in 1953, he began to produce etchings, and the following year he began to produce ceramic works. The influence of his collection of African art, acquired during a trip to North Africa in 1949, is evident in the evolution of his work from the late 1950s onwards, as he gradually abandoned abstract landscape painting and began to develop an imaginative style, with landscapes depicted from a bird's eye view, exotic animals and highly stylised figures. Corneille is currently represented at the MoMA in New York, the National Gallery of Slovakia, the Dordrecht Museum, the Museum of Fine Arts in Boston, the Art Institute of Chicago and others.
ZAO WOU KI (Beijing, 1921 - Nyon, Switzerland, 2013).Untitled, from the Suite Olympic Centennial, 1992.Lithograph on 270 gsm Vélin d'Arches paper, copy 110/250.Hand signed and justified.This work is part of the "Suite Olympic Centennial", complete edition 110/250, which will be auctioned on 27 September 2022, in 50 consecutive lots numbered 35245230 to 35245280.Measurements: 90 x 63 cm.Zao Wou Ki is the second most sought-after post-war artist in the world and the sixth most expensive of all time. In the first half of 2018, his sales were only behind those of stars such as Picasso, Monet, Modigliani and Andy Warhol. At the end of 2018, one of his paintings was sold for 56.5 million euros at auction at Sotheby's. The work made Wou-Ki the most expensive Asian artist in history.Zao Wou Ki was born into a Franco-Chinese family and grew up in a highly cultured environment, interested in the arts and sciences. He studied calligraphy as a child, an aspect that would influence his mature work, and later trained in painting at the Hangzhou College of Fine Arts from 1935-1941. A few years later, in 1948, he settled in Paris, in the Montparnasse district, where he followed the artistic courses of Émile Othon Friesz and came into contact with the contemporary artistic avant-garde. He began to experiment with lithography, a technique which he eventually mastered, following his contact with Desjobert. He holds a solo exhibition at the Galerie Creuze in May 1949, with a presentation written by Bernard Dorival, curator of the Musée National d'Art Moderne. In January 1951 Pierre Loeb visits Wou-Ki's studio with Henri Michaux, organising an exhibition at the Galerie Pierre for June, thus laying the foundations for a close collaborative relationship that would last six years. He held regular exhibitions at the Pierre Gallery and met I. M. Pei and his wife Eileen, opening his circle of exhibitions in Switzerland, London, Basel and Lausanne, as well as in New York, Washington and Chicago. His painting is eminently abstract and colourist, strongly influenced by the work of Paul Klee, for its expressionist and emotive abstraction. He tends to work with large masses of intense and contrasting colour, often creating works of large dimensions, as well as diptychs or triptychs. They are often explosions of colour, germinal "big bangs", the origin of a world in creation, as we can see in this lithograph. Delicate patches of blue and mauve intermingle with some grey tones.
JOAN GARCÍA RIPOLLÉS (Castellón, 1932)."Three spectators at the barrier", 1981.Oil on canvas.Signed and dated in the upper left corner. Titled and dated on the back.It has a patch on the back.Measurements: 73 x 92 cm, 74,5 x 94 cm (frame).Known by his second surname or as "the Blessed Ripo", Joan García Ripollés discovered his passion for painting when, while still very young and in the middle of the post-war period, he started working in an industrial painting workshop. From then on he devoted himself to painting at night, and later took drawing classes at the Ribalta secondary school in Castellón. After his debut in a group exhibition held in 1951 at the Caja de Ahorros de Castellón, 1954 was a turning point in his career, as a result of a trip to Paris where he made contact with the artistic circles of the city. He remained in the French capital until 1963, and during these years he produced twelve paintings for the church of Saint-Paul de Trigan in the Commune des Chaulegnes. However, he was unable to give up industrial painting until 1958, when he joined the Drouand David gallery in Paris, one of the most prestigious in the world. He organised his first major solo exhibition at MACBA in 1962, and in 1967 he travelled to New York, where he exhibited and sold his entire collection to The William Haber Art Collection. That same year, the New York dealer Leon Amiel, of the Larrouse gallery, acquired all his work, something which was repeated on his trip to Japan. From that moment on, he embarked on a dazzling international career that has taken his work all over the world. In 1977 he moved to Holland, where he produced the engravings for the book in homage to Josep Plà. Between 1986 and 1987 he devoted himself to sculpture, producing sixty-two works in ceramic and bronze which were exhibited at the 1988 edition of ARCO. He has organised solo exhibitions not only in Spain, Paris and New York, but also in Mexico, Holland, Belgium, Italy, Switzerland, Sweden, various American cities, Germany and Japan. He is currently the exclusive artist of The William Haber Art in New York and the Galerie Drouand in Paris. In 2000 he was awarded the Premio de las Artes de la Comunidad Valenciana. Ripollés is today one of the most international Spanish artists, and also one of the most complete, as he has worked brilliantly in painting, sculpture and engraving. After an initial stage of correct figuration in which he recreated the landscape of his homeland, his work began to lean first towards dramatic expressionism and then towards a simplified painting based on the imaginative and poetic recreation of reality. Within this lyrical, ironic and somewhat erotic world, he developed a body of work whose roots conceal a deep admiration for Picasso and Chagall. Ripollés is represented in the IVAM, the MOMA in New York, the Museum of the University of Alicante, the Museum of Fine Arts in Seville and the MACBA.
PABLO RUIZ PICASSO (Malaga, 1881-Mougins, 1973)."Sujet Colombe", 1959Ceramic, copy 154/500.Numbered on the base, with the stamps Edition Picasso and Madoura Plein Feu.Measurements: 14 x 22 x 10 cm.Glazed ceramic vase with blue and black on white, in the shape of a dove, a bird that inspired a good number of Picasso's drawings and paintings, as well as ceramic pieces such as the one in question.The creator of Cubism together with Braque, Picasso began his artistic studies in Barcelona, at the Provincial School of Fine Arts (1895). Only two years later, in 1897, Picasso held his first solo exhibition at the café "ElsQuatreGats". Paris was to become Pablo's great goal, and in 1900 he moved to the French capital for a short period of time. When he returned to Barcelona, he began to work on a series of works in which the influences of all the artists he had met or whose work he had seen could be seen. He is a sponge that absorbs everything but retains nothing; he is searching for a personal style. Between 1901 and 1907 he developed the Blue and Pink Stages, characterised by the use of these colours and by their subject matter with sordid, isolated figures, with gestures of grief and suffering. Painting in these early years of the 20th century was undergoing continuous changes and Picasso could not remain on the sidelines. He became interested in Cézanne, and based on his example he developed a new pictorial formula together with his friend Braque: Cubism. But Picasso did not stop there and in 1912 he practised collage in painting; from that moment on, anything goes, imagination became the master of art. Picasso was the great revolutionary, and when all the painters were interested in Cubism, he was preoccupied with the classicism of Ingres. The surrealist movement of 1925 did not catch him unawares and, although he did not participate openly, it served as an element of rupture with what had gone before, introducing into his work distorted figures with great force and not exempt from rage and fury. As with Goya, Picasso was also greatly influenced in his work by his personal and social situation. His often tumultuous relationships with women had a serious impact on his work. However, what had the greatest impact on Picasso was the outbreak of the Spanish Civil War and the bombing of Guernica, which led to the creation of the most famous work of contemporary art. Paris was his refuge for a long time, but the last years of his life were spent in the south of France, working in a very personal style, with vivid colours and strange shapes. Picasso is represented in major museums around the world, including the Metropolitan, MOMA and the Guggenheim in New York, the Hermitage in St. Petersburg, the National Gallery in London and the Reina Sofia in Madrid.
JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983)."Fundació Joan Miró", 1975.Lithograph, copy 21/99. Avant la Lettre print run.Signed and justified by hand.Work published in the catalogue raisonné "Miró Litógrafo. 1972-1975", Vol. V, Maeght Editeur, p. 140, ref. 1031.Size: 70 x 50 cm; 87 x 67 cm (frame).Joan Miró was one of the great international figures of 20th century art. He trained in Barcelona, first at the Escuela de la Lonja and later at the Academia Galí, with a more renovating spirit. At that school and at the Cercle Artístic de Sant Lluc, also in Barcelona, the young Miró met some of his great friends, such as the critic Sebastià Gasch, the poet J.V. Foix, the painter Josep Llorens Artigas and the art promoter Joan Prats. Thus, from his formative years he was in direct contact with the most avant-garde circles in Barcelona, and as early as 1918 he held his first exhibition in the Dalmau Galleries in Barcelona. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. These were the crucial years of his artistic career, during which Miró discovered his personal language. In Paris he became friends with André Masson, around whom the so-called Rue Blomet group, the future nucleus of Surrealism, was grouped. Thus, under the influence of the Surrealist poets and painters, with whom he shared many of their theoretical approaches, his style matured; he tried to transpose Surrealist poetry to the visual, based on memory, fantasy and the irrational. From this point onwards his style began to evolve, leading him to more ethereal works in which organic forms and figures were reduced to abstract dots, lines and patches of colour. In 1924 he signed the first Surrealist manifesto, although the evolution of his work, which is too complex, makes it impossible to ascribe him to any particular orthodoxy. His third exhibition in Paris in 1928 was his first great triumph: the Museum of Modern Art in New York acquired two of his works. From the 1930s onwards Miró established himself as one of the leading figures on the international art scene and one of the key artists of the 20th century. It was precisely at this time that the artist, a non-conformist by nature, entered a phase he called the "murder of painting", in which he voluntarily renounced being a painter and experimented with other media, such as collage, drawing on paper of different textures and the construction of "objects" with found elements, his first approach to sculpture. Thus, although he soon returned to painting, Miró never abandoned his desire to experiment with all kinds of materials and techniques, including ceramics, bronze, stone, graphic techniques and even, from 1970, tapestry. He returned to Spain in 1941, and that same year the Museum of Modern Art in New York devoted a retrospective exhibition to him, which was to be his definitive international consecration. From 1956 until his death in 1983, he lived in Palma de Mallorca in a sort of internal exile, while his international fame grew. Throughout his life he received numerous awards, such as the Grand Prizes at the Venice Biennale in 1954 and the Guggenheim Foundation in 1959, the Carnegie Prize for Painting in 1966, the Gold Medals of the Generalitat de Catalunya (1978) and of the Fine Arts (1980), and was named Doctor Honoris Causa by the universities of Harvard and Barcelona. His work can currently be seen at the Joan Miró Foundation in Barcelona, inaugurated in 1975, as well as in major contemporary art museums around the world, such as the Thyssen-Bornemisza, the MoMA in New York, the Reina Sofía Museum in Madrid, the National Gallery in Washington and the MNAM in Paris.
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