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Click here to subscribePABLO PICASSO(Málaga 1881–1973 Mougins)Collation en musique chez la Célestine. 1968.Radierung. 30/50. Unten rechts mit Bleistift signiert: Picasso. Mit der spiegelverkehrten Datierung in der Platte oben rechts: 8.5.68. Darstellung 31,5 × 41,7 cm auf Vélin von BFK Rives 45,2 × 56 cm. Erschienen bei Edition Galerie Louise Leiris. Gedruckt bei Crommelynck.Blatt 69 aus der Serie "347 gravures".Werkverzeichnis: - Bloch, Nr. 1549. - Baer, Nr. 1565, Bb1.
PABLO PICASSO(Málaga 1881–1973 Mougins)Teller I (aus: Black Face Service). 1948.Teller. Keramik mit Bemalung in Rot, Grün, Weiss und Schwarz. Mit Engoben dekoriert und mit Gravuren unter der Glasur. Aus der Auflage von 100. Auf der Unterseite mit den eingeritzten Stempeln: MADOURA PLEIN FEU und EDITION PICASSO, sowie bezeichnet: I. Durchmesser 24 cm.Werkverzeichnis: Ramié, Nr. 44.
PABLO PICASSO(Málaga 1881–1973 Mougins)Picador. 1953.Teller. Keramik mit Bemalung in Gelb, Blau und Grün. Mit Engoben dekoriert. 92/300. Auf der Unterseite mit den eingeritzten Stempeln: MADOURA PLEIN FEU und EMPREINTE ORIGINALE DE PICASSO, sowie der Nummerierung: K.112. Durchmesser 22,5 cm.Werkverzeichnis: - Ramié, Nr. 202.- Bloch, Nr. 44.
PABLO PICASSO(Málaga 1881–1973 Mougins)Femme assise en pyjama de plage. II. 1961.Farblinolschnitt. 40/100. Unten rechts mit Bleistift signiert: Picasso. Darstellung 39,1 × 29,9 cm auf Vélin von Arches (mit dem Wasserzeichen) 54,3 × 43,1 cm. Gedruckt bei Arnéra.Werkverzeichnis:- Bloch, Nr. 1062.- Baer, Nr. 1276 Ba.
PABLO PICASSO(Málaga 1881–1973 Mougins)Deux grosses femmes nues et un voyeur. 1968.Radierung. 31/50. Unten rechts mit Bleistift signiert: Picasso, sowie mit dem spiegelverkehrten Datum in der Platte oben rechts: 18.8.68 V. Darstellung 15,6 × 20,1 cm auf Vélin von BFK Rives 28,2 × 35 cm. Erschienen bei Galerie Louise Leiris, Paris. Gedruckt bei Crommelynck.Blatt 286 aus der Serie "347 gravures".Werkverzeichnis:- Bloch, Nr. 1766.- Baer, Nr. 1783 Bb1.
PABLO PICASSO(Málaga 1881–1973 Mougins)Nu accoudé. 1965.Aquatintaradierung. 17/50. Unten rechts mit Bleistift signiert: Picasso, sowie mit dem spiegelverkehrtem Datum in der Platte unten mittig: 25.2.65. Darstellung 38,3 × 27,5 cm auf Vélin (mit dem Wasserzeichen: Pablo Picasso) 58,3 × 46,3 cm. Erschienen bei Louis Broder. Gedruckt bei Crommelynck.Werkverzeichnis: - Bloch, Nr. 1190.- Baer, Nr. 1159 B.
PABLO PICASSO(Málaga 1881–1973 Mougins)Le Vieux Roi. 1959.Lithografie. Aus der Auflage von 1000. Unten rechts mit der roten Stempelsignatur, sowie der Datierung: 6.1.59. Picasso. Darstellung 65,1 × 49,9 cm auf Vélin von Arches (mit dem angeschnittenen Wasserzeichen) 66,8 × 51,1 cm. Erschienen zugunsten der Zeitung "Le Patriote", Nizza.Werkverzeichnis: Bloch, Nr. 869.Literatur: Gauss, Ulrike (Hrsg.): Pablo Picasso. Die Lithographie. Graphikmuseum Pablo Picasso Münster. Die Sammlung Huizinga, Ostfildern-Ruit 2000, Nr. 748/317.
PABLO PICASSO(Málaga 1881–1973 Mougins)Teller F (aus: Black Face Service). 1948.Teller. Keramik mit Bemalung in Rot, Grün, Weiss und Schwarz. Mit Engoben dekoriert und mit Gravuren unter der Glasur. Aus der Auflage von 100. Auf der Unterseite mit den Stempeln: MADOURA PLEIN FEU und EDITION PICASSO, sowie bezeichnet: F. Durchmesser 24 cm.Werkverzeichnis: Ramié, Nr. 41.
ROY LICHTENSTEIN: ENAMEL 'MODERN HEAD' BROOCH/PENDANT, 1968Decorated in enamel with primary colours, the white enamel face with red enamel 'Ben-Day dots', signed Roy Lichtenstein for Multiples Inc., length 7.6cmFootnotes:The concept of printing seminal artworks in limited editions flourished during the 1960s and in response, the New York based art publishing company, Multiples, Inc. was founded in 1965 by a group of five partners. In addition to prints, Multiples, Inc. produced works in a broad variety of media including objects, jewellery and furniture, often using new materials and manufacturing techniques. From the mid 1960s to the early 1970s, the company placed a strong emphasis on publishing three-dimensional works and enthusiastically supported emerging Pop artists such as Roy Lichtenstein (1923-1997). The use of 'Ben-Day dots', a printing technique used in the comic strips and advertising of the era, was a hallmark of Lichtenstein who enlarged and exaggerated them in his artworks which parodied contemporary American life and culture.This brooch was manufactured by Multiples, Inc. for Lichtenstein in 1968 from an edition of 250. For another example of the same design by Roy Lichtenstein, see Venet, D., 'From Picasso to Jeff Koons: The Artist as Jeweler', Milan and London, 2011, ill.p.172. For further information on this lot please visit Bonhams.com
Inge Morath (Graz 1923 – 2002 New York). „Pablo Picasso unveiling mural for Unesco, Vallauris, France“. 1958Silbergelatineabzug, um 1970. 32,9 × 21,2 cm (35,3 × 27,8 cm) (13 × 8 ⅜ in. (13 ⅞ × 11 in.)). Im rechten Blattrand mit rotem und schwarzem Farbstift beziffert. Rückseitig mit Bleistift signiert sowie von verschiedenen Händen mit Bleistift beschriftet und beziffert.[2000] Provenienz: Ehemals Lloyd Morgan CollectionWir berechnen auf den Hammerpreis 25% Aufgeld und auf Hammerpreis und Aufgeld die zum Auktionszeitpunkt geltende Umsatzsteuer.
Lee Miller (Poughkeepsie/New York 1907 – 1977 Chiddingly/East Sussex). Picasso in his Studio, Rue des Grands Augustins, Paris. 1944Vintage. Silbergelatineabzug. 15,9 × 15,2 cm (6 ¼ × 6 in.). Rückseitig Sammlungsstempel: „Elizabeth McCausland, 50 Commerce St. N.Y.C.“ sowie von verschiedenen Händen mit Bleistift beschriftet, beziffert und Markierungen.Mit leichten Gebrauchsspuren. [2000] Provenienz: Elizabeth McCausland / Berenice Abbott / Hank O'NealWir berechnen auf den Hammerpreis 25% Aufgeld und auf Hammerpreis und Aufgeld die zum Auktionszeitpunkt geltende Umsatzsteuer.
PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. An 8vo softcover edition of the literary quarterly the ADAM International Review, Volume XXXII, Numbers 322-23-24, 1967, signed and inscribed by Picasso in bold black ink to the front cover, 'Pour Miron Grindea, Picasso'. The review features a contribution by Picasso in the form of his ten poems Trozo de Piel ('A Scrap of Skin') printed in Spanish and English and promoted to the cover. A good association piece. Some light age wear, VG Miron Grindea (1909-1995) Romanian-born literary journalist who edited ADAM International Review for more than fifty years.
PICASSO PABLO: (1881-1973) Spanish Painter, a co-founder of the Cubist movement. A rare slim small 8vo colour printed admittance ticket to a bullfight signed by Picasso, the event taking place at the Plaza Toros de Nimes on Sunday, 24th May 1953 and the ticket (marked Premiere B, Rang 1) featuring a colour illustration to the centre of two toreros. Signed ('Picasso') by Picasso in blue ink to the upper border and dated 24th May 1953 in his hand. Very slightly irregularly torn to the lower edge. Together with a printed 4to souvenir programme issued for the centenary of the Feria de Nimes 1853-1953, featuring various images and printed text relating to bullfights and various toreros, including Antonio Ordonez, the blank inside front cover featuring a good, original bold black crayon drawing executed and signed by Edouard Pignon, the image depicting a bull. Signed and inscribed by Pignon at the base of the image. Some light overall age wear, about VG, 2 Signed souvenirs by Picasso related to his great passion for bullfighting are rare and desirable and, as Paloma Alarco of Madrid's Thyssen-Bornemisza Museo Nacional so accurately observed, 'The close relationship between the world of bullfighting and Picasso's oeuvre is unquestionable. From his childhood days in Malaga, where his father often took him to the bullring, he was greatly fascinated by the national sport. In addition to the artistic possibilities of the bullfight…..Picasso regarded it as an expression of Spanishness'. Picasso regularly attended the Plaza Toros at Nimes from the autumn of 1947 until 1955, quite often with the bullfighting chronicler Andre Castel, as well as Picasso's lover at the time, Francoise Gilot, the surrealist writer Michel Leiris, and his friend Jean Cocteau. Edouard Pignon (1905-1993) French artist, a friend of Picasso with whom he shared a workshop in Vallauris from 1951-52.
Inscribed by Picasso to the life-long friend who saved him from drowning PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. A good signed and inscribed 6 x 4 postcard photograph by Picasso `Para mis amigos Pallarés, 1917 Picasso´ in Spanish (“To mi friends Pallarés, 1917 Picasso”) Signed and inscribed in bold brown ink to the verso of a postcard showing to the front Picasso´s early work Verre et Bouteille de Rhum (1914) (“Glass and Bottle of Rhum”). Attractively framed and glazed beneath a 6 x 4 image of Picasso´s painting Verre et Bouteille de Rhum, identical to the image shown to the front of the postcard, to an overall of 14.5 x 17.5 (37 cm x 17.5 cm). With very slightly light ink, otherwise G to VG The present autograph provenance is from the Pallarés family collection.Manuel Pallares i Grau (1876-1974) met for the first time Pablo Picasso, five years younger, the first day they assisted to the School of Arts in Barcelona in 1895. Since that day and until Picasso´s death, they remained friends, a friendship which last 78 years. Pallarés worked as assistant to Picasso´s father, teacher at Llotja, and replaced him when he retired. From 1896 to 1899 they spent long periods together, studying and on holidays. Pablo would spend over eight consecutive months at Horta del Ebro, village where Pallarés´ family home was located, to recover from scarlet fever. Later in his life, and during few days journey of Pallarés visiting his friend Picasso, Pablo recalled how Pallarés saved him from falling and dying drowned in a mighty river, mentioning that he didn´t know how to swim at that time, and recalling that he said `I will never forget that you have saved my life”
Picasso’s Christmas dinner PICASSO PABLO: (1881-1973) Spanish Painter. An exceptional illustrated A.L.S., Olga et Picasso (also signing on behalf of his first wife), to one side of a picture postcard depicting a Christmas winter scene to the recto, Paris, 2nd January 1919, to Mr & Mrs [Henri] Defossé, at the Coliseum Theatre in London, in French. At the head of the letter Picasso has executed a wonderful, charming original pen and ink drawing of a Christmas dinner, apparently for four people with a turkey, two bottles of wine accompanied by four glasses and several bunches of grapes and other fruits laid out on a table. A decorative, dark flowing line adorns the upper part of the exquisite drawing with the year 1919 at the head. Beneath his drawing Picasso writes a brief message to his friends, presenting them with the Christmas dinner, 'Dear friends, here you have, with this well-served table, our best wishes', also adding the address of his Parisian home and workshop at Rue la Boetie in his hand beneath his signature. Such detailed original ink drawings by Picasso, particularly from this earlier stage of his career, rarely appear at auction and the present example is enhanced by an interesting association. Some very minor, light age wear, otherwise VG Henri Defossé (1883-1956) French Conductor, Pianist & Composer. Sergei Diaghilev's favourite conductor, Defossé was chosen to lead the Ballets Russe at London's Coliseum Theatre in 1918 & 1919. Olga Khokhlova (1891-1955) Russian Ballet Dancer, the first wife of Pablo Picasso and one of his early artistic muses. Khokhlova first met Picasso whilst dancing in Diaghilev's Parade in 1917 for which the artist had designed the set and costumes. They married in July 1918 and in July the following year they travelled to London together for the performance of Diaghilev's Le Tricorne for which Picasso had again designed the costumes and stage.
MOLNAR FERENC: (1878-1952) Hungarian-born author, stage director, dramatist & poet. An entertaining A.L.S., Ferenc Molnar, two pages, 4to, n.p. (New York), 29th May 1950, to Mr. Raeburn. Molnar sends his correspondent a story (no longer present) entitled Question Period for the book Adventure in Paris, remarking 'Its stilted, pompous language is the result of the mutual efforts of Mr. Mussey and myself. We wanted to create a slightly ridiculous, professorial, pseudo-scientific mood for this satirical piece' and further explaining that he will send 'the positively last' story this week, also commenting on a design for the dust jacket, 'In my modest opinion this design is only good if you print it without any changes, i.e. without polishing, prettifying, correcting the half-crazy, semi-idiotic, primitive, not to say pre-Raphaelitic, would-be-Chagall-Dali-Picasso-imitating surrealistic madhouse quality of it'. Molnar proceeds to write of a mutual friend ('the Actor') who he believes is still in Florida, and whom he misses for two reasons, '1. For having to do without his kind personality, his erudition, his good taste, his flawless English and mainly his good judgement unfortunately very often influenced by his good heart. 2. For not being able to meet you either telephonically or in person, both opportunities being seemingly dependent on the Actors presence in town', concluding 'Please forgive me for my English but I learned it from two Russian-born Broadway producers and from native Brooklyn waiters of some Sixth Avenue Delicatessen, not yet famed for their proficiency nay command of the King's modern American English'. In a postscript Molnar declares 'Just before licking the glue on the envelope the telephone rings and who phones but the Actor, and from New York! So please disregard the first sentence of paragraph 4 of the present letter, and be informed that the Actor just promised me to read and correct said manuscript with me today, Monday, 29 May, at Macario's, at noon sharp, while eating spaghetti without meat sauce'. The letter is written on brittle paper with age toning and some tears and small areas of paper loss at the edges. At one time the letter has also been split in two at the central horizontal fold and since re-joined to a good standard, the repairs only very slightly affecting the text. About G Ben Raeburn (1911-1997) American publisher who owned Horizon Press from 1953-84. Raeburn was known for both his editing skills and his fine eye for design. June Barrows Mussey (1910-1985) American journalist and translator who wrote under the pen name Henry Hay.
TZARA TRISTAN: (1896-1963) Born Samuel Rosenstock, also known as Samyro. Romanian-French avant-garde Poet and Playwright. Tzara was one of the founders of the Dada movement. Author of his celebrated utopian poem The Approximate Man. An excellent and lengthy A.L.S., `Tzara´, two pages, 8vo, Paris, 30th January 1954, to Leone Traverso, in French. Tzara states in part `I have just returned to Paris, and as you can see, I keep my promise. In the today´s date copy of the Figaro Littéraire, Corbiere´s grandson has published a very long article about his uncle which has some interest. He tries - in order to save the honorability(!) of the family - to present a Corbiere "not-cursed", if I may say…´, further saying `I have found Paris in a lamentable state, melted snow, cold, desolation..´ On a post-scriptum written to the left border, Tzara adds `The revue "Commentaires" has published a conference on Picasso without asking my authorization, without sending me proofs to revise: there is a considerable number of mistakes, and some are very serious, because they make me say the opposite of what I said.´ Small overall creasing. G Leone Traverso (1910-1968) Italian Poet and Translator
A gold 'Olive Leaf' citrine bracelet by Tiffany & Co., designed by Paloma Picasso, with a circular cabochon citrine, rub set to a plain frame, with an olive leaf spray to one side. Trace chain to each side with a bolt ring clasp. Marked AU 750. Signed Tiffany & Co., signed Paloma Picasso. Pouch and outer box. 178mm long, 178mm longCondition report: Minor marks to the table or crown facet edges under 10x magnification.Clasp in working order.
An 18ct gold 'Dot Station' gem set necklace by Tiffany & Co., designed by Paloma Picasso, with a series of circular cabochon gemstones to include citrine, amethyst, peridot and tourmaline. Each one spectacle set in a plain frame, joined by sections of trace chain with a side lever clasp, London, 2009. Signed Tiffany & Co. and Paloma Picasso. Necklace fold and outer box. 410mm long, 8.49gCondition report: No faults or issues. Does not appear to have been worn very often.
Estampes Introduction de Robert Rey. Paris/Nizza, L'image littéraire sowie New York, R. Finelli-Feugère 1950. Prachtvolle Luxusedition, mit signierten Arbeiten von Chagall, Matisse, Braque und Picasso - Exemplar mit der Suite von Maurice Utrillo. 1 von 150 numerierten Exemplaren. - Sehr breitrandiger Druck aus dem Atelier Coulouma, Paris, auf kräftigem, chamoisfarbenen van Gelder Zonen-Bütten mit Wasserzeichen, Papierformat 46,5 : 36,5 cm; Paginierung, Initialen und Titel in Rot. Die schönen, großformatigen und qualitativ hochwertigen Farbholzschnitte stammen von Gérard Angiolini nach Originalen von: Georges Braque, Maurice Brianchon, Marc Chagall, François Desnoyer, Raoul Dufy, Marie Laurencin, Henri Matisse, Pablo Picasso, Maurice Utrillo, Kees van Dongen, Maurice de Vlaminck und Henry de Waroquier. Sie wurden sämtlich von den Künstlern signiert, überdies wurden sie handschriftlich numeriert, im Unterrand typographisch bezeichnet und auch vom Herausgeber Robert Rey signiert. Die Textbeiträge zu den einzelnen Blättern stammen u. a. von Jean Cocteau, Jean Cassou, Pierre MacOrlan und André Maurois, sie wurden von den Autoren gleichfalls signiert. - Exemplar mit der umfangreichen Suite von Andrucken der einzelnen Farbstöcke zu der Graphik von Maurice Utrillo; gedruckt auf chamoisfarbenem Lana-Vélin mit Wasserzeichen. Der Kunsthistoriker und -kritiker Robert Rey (1882-1964) war eine der zentralen Figuren der Pariser Kunstszene im 20. Jahrhundert. Er war u. a. Mitglied der Académie des Beaux-Arts, der École de Louvre und der École nationale supérieure des Beaux-Arts und pflegte enge Beziehungen zu vielen bedeutenden Künstlern, mit Matisse, Dunoyer de Segonzac und Utrillo war er befreundet. Einband: Lose Lagen in Orig.-Broschur mit Umschlagtitel in Rot, in dunkelblauer Orig.-Maroquinkassette mit goldgeprägtem Deckeltitel. 47 : 37,5 cm. - ILLUSTRATION: Mit 12 signierten Farbholzschnitten nach P. Picasso, M. Chagall, H. Matisse, G. Braque u. a. sowie einer Suite von 55 Blatt Farb-Dekompositionen zu der Graphik von Maurice Utrillo ('Le Jardin de Montmagny'). - PROVENIENZ: Privatsammlung Rheinland-Pfalz. LITERATUR: Monod 4359. Lavishly made Paris de-luxe edition. 1 of 150 copies, with signed works by Chagall, Picasso, Matisse and Braque. This copy with the suite by Maurice Utrillo. Loose sheets in orig. wrappers with cover title in red, in dark blue orig morocco case with gilt-lettered title. 47 : 37.5 cm. With 12 signed color woodcuts after P. Picasso, M. Chagall, H. Matisse, G. Braque et al and a suite of 55 sheets with color decompositions of M. Utrillo's graphic ('Le Jardin de Montmagny'). - 6 leaves with water marks at the end, suite slightly foxed in places. Case blemished in places. All in all fine and clean copy with the prints in strong impression. Dieses Objekt wird regel- oder differenzbesteuert angeboten.
Estampes Introduction de Robert Rey. Paris/Nizza, L'image littéraire sowie New York, R. Finelle-Feugère 1950. Prachtvolle Luxusedition, mit signierten Arbeiten von Chagall, Matisse, Braque und Picasso - Exemplar mit der Suite von Marie Laurencin. 1 von 150 numerierten Exemplaren. - Sehr breitrandiger Druck aus dem Atelier Coulouma, Paris, auf kräftigem, chamoisfarbenen van Gelder Zonen-Bütten mit Wasserzeichen, Papierformat 46,5 : 36,5 cm; Paginierung, Initialen und Titel in Rot. Die schönen, großformatigen und qualitativ hochwertigen Farbholzschnitte stammen von Gérard Angiolini nach Originalen von: Georges Braque, Maurice Brianchon, Marc Chagall, François Desnoyer, Raoul Dufy, Marie Laurencin, Henri Matisse, Pablo Picasso, Maurice Utrillo, Kees van Dongen, Maurice de Vlaminck und Henry de Waroquier. Sie wurden sämtlich von den Künstlern signiert, überdies wurden sie handschriftlich numeriert, im Unterrand typographisch bezeichnet und auch vom Herausgeber Robert Rey signiert. Die Textbeiträge zu den einzelnen Blättern stammen u. a. von Jean Cocteau, Jean Cassou, Pierre MacOrlan und André Maurois, sie wurden von den Autoren gleichfalls signiert. - Exemplar mit der umfangreichen Suite von Andrucken der einzelnen Farbstöcke zu der Graphik von Marie Laurencin; gedruckt auf chamoisfarbenem Lana-Vélin mit Wasserzeichen. Der Kunsthistoriker und -kritiker Robert Rey (1882-1964) war eine der zentralen Figuren der Pariser Kunstszene im 20. Jahrhundert. Er war u. a. Mitglied der Académie des Beaux-Arts, der École de Louvre und der École nationale supérieure des Beaux-Arts und pflegte enge Beziehungen zu vielen bedeutenden Künstlern, mit Matisse, Dunoyer de Segonzac und Utrillo war er befreundet. Einband: Lose Lagen in Orig.-Broschur mit Umschlagtitel in Rot, in dunkelblauer Orig.-Maroquinkassette mit goldgeprägtem Deckeltitel. 47 : 37,5 cm. - ILLUSTRATION: Mit 12 signierten Farbholzschnitten nach P. Picasso, M. Chagall, H. Matisse, G. Braque u. a. sowie einer Suite von 41 Blatt Farb-Dekompositionen zu der Graphik von Marie Laurencin ('Portrait de femme en rouge'). - PROVENIENZ: Privatsammlung Rheinland-Pfalz. LITERATUR: Monod 4359. Lavishly made Paris de-luxe edition. 1 of 150 copies, with signed works by Chagall, Picasso, Matisse and Braque. This copy with the suite by M. Laurencin. Loose sheets in orig. wrappers with cover title in red, in dark blue orig morocco case with gilt-lettered title. 47 : 37.5 cm. With 12 signed color woodcuts after P. Picasso, M. Chagall, H. Matisse, G. Braque et al and a suite of 41 sheets with color decompositions of M. Laurencin's ('Portrait de femme en rouge'). - Only the suite slightly foxed in places, case blemished inside. All in all fine and clean copy with the prints in strong impression. Dieses Objekt wird regel- oder differenzbesteuert angeboten.
Pierre Reverdy La liberté des mers. Paris, Maeght 1959. - Eine der exemplarischen Gemeinschaftspublikationen von Georges Braque und Pierre Reverdy - Exemplar mit einer signierten Extra-Suite der Braque-Grafiken - Die seltene Luxusedition des wichtigen Malerbuches 'A majestic artist's book' (Paul van Capelleveen) Eines der großen Pariser Malerbücher der Nachkriegszeit, erste Ausgabe. - 1 von 50 numerierten Exemplaren der Vorzugsausgabe auf Montval-Bütten, im Druckvermerk von Künstler und Verfasser signiert. 'In 1910, poet Pierre Reverdy moved from Narbonne in the south of France to Paris, where he met Cubist painters Pablo Picasso and Georges Braque within a year's time. Like the Futurists and other modern artists, they didn't use traditional symbols for their paintings, but everyday objects such as a guitar or a bottle. Reverdy did the same thing with poetry: his poems may be compared to still-lifes, which are intimate and sometimes feverish, and in which objects like a window or a curtain are essential.' (Paul van Capelleveen, in der Koopman Collection) - 'Das Manuskript Pierre Reverdys wurde als Lithographie nach dem Aussparverfahren angefertigt.' (Dora Vallier). Einband: Lose Lagen in Orig.-Broschur sowie Orig.-Leinendecke und -schuber. 57,5 : 40,5 cm. - ILLUSTRATION: Mit 7 Orig.-Farblithographien von G. Braque (1 auf dem Vorderdeckel) und einer signierten Suite der Grafiken auf Japon nacré sowie 60 tlw. farbigen Illustrationen mit lithographiertem Text. - ZUSTAND: Nur vereinzelt geringfüg. stockfl., Vorsätze mit leichtem Lichtrand. insgesamt sauberes und wohlerhaltenes Exemplar. - LITERATUR: Vallier 143. - Mourlot 68-75. - Hofmann XXX. - Wünsche 69-75. - Monod 9683. - Voices and Visions (Koopman Coll.) S. 87f. One of the important artist's book published in Paris after the war. With 7 orig.-lithographs in color by G. Braque (1 on the frontcover), a signed extra-suite of the lithographs on Japon nacré, and 60 illustrations, partly in color, text in lithograph. Loose sheets in orig. wrappers with orig. cloth cover and slipcase. Only here and there slight foxings, overall clean and well-preserved copy. Dieses Objekt wird regelbesteuert angeboten (R).
Estampes Introduction de Robert Rey. Paris/Nizza, L'image littéraire sowie New York, R. Finelli-Feugère 1950. - Aufwendig gedruckte Pariser Luxusedition - 1 von 150 Exemplaren - Mit signierten Arbeiten von Chagall, Matisse, Braque und Picasso - Exemplar mit der Suite von Georges Braque 1 von 150 numerierten Exemplaren. - Sehr breitrandiger Druck aus dem Atelier Coulouma, Paris, auf kräftigem, chamoisfarbenen van Gelder Zonen-Bütten mit Wasserzeichen, Papierformat 46,5 : 36,5 cm; Paginierung, Initialen und Titel in Rot. Die schönen, großformatigen und qualitativ hochwertigen Farbholzschnitte stammen von Gérard Angiolini nach Originalen von: Georges Braque, Maurice Brianchon, Marc Chagall, François Desnoyer, Raoul Dufy, Marie Laurencin, Henri Matisse, Pablo Picasso, Maurice Utrillo, Kees van Dongen, Maurice de Vlaminck und Henry de Waroquier. Sie wurden sämtlich von den Künstlern signiert, überdies wurden sie handschriftlich numeriert, im Unterrand typographisch bezeichnet und auch vom Herausgeber Robert Rey signiert. Die Textbeiträge zu den einzelnen Blättern stammen u. a. von Jean Cocteau, Jean Cassou, Pierre MacOrlan und André Maurois, sie wurden von den Autoren gleichfalls signiert. - Exemplar mit der umfangreichen Suite von Andrucken der einzelnen Farbstöcke zu der Graphik von Georges Braque; gedruckt auf chamoisfarbenem Lana-Vélin mit Wasserzeichen. Der Kunsthistoriker und -kritiker Robert Rey (1882-1964) war eine der zentralen Figuren der Pariser Kunstszene im 20. Jahrhundert. Er war u. a. Mitglied der Académie des Beaux-Arts, der École de Louvre und der École nationale supérieure des Beaux-Arts und pflegte enge Beziehungen zu vielen bedeutenden Künstlern, mit Matisse, Dunoyer de Segonzac und Utrillo war er befreundet. Einband: Lose Lagen in Orig.-Broschur mit Umschlagtitel in Rot, in dunkelblauer Orig.-Maroquinkassette mit goldgeprägtem Deckeltitel. 47 : 37,5 cm. - ILLUSTRATION: Mit 12 signierten Farbholzschnitten nach P. Picasso, M. Chagall, H. Matisse, G. Braque u. a. sowie einer Suite von 42 Blatt Farb-Dekompositionen zu der Graphik von Georges Braque (Nature morte aux huitres ). - ZUSTAND: Tlw. sehr leicht stockfl., Broschur etw. eingerissen, vord. Kassettengelenk lädiert. Insgesamt gutes sauberes Exemplar, mit kräftigen Abzügen der schönen Künstlergraphiken. - PROVENIENZ: Privatsammlung Rheinland-Pfalz. LITERATUR: Monod 4359. Lavishly made Paris de-luxe edition. 1 of 150 copies, with signed works by Chagall, Picasso, Matisse and Braque. This copy with the suite by George Braque. Loose sheets in orig. wrappers with cover title in red, in dark blue orig morocco case with gilt-lettered title. 47 : 37.5 cm. With 12 signed color woodcuts after P. Picasso, M. Chagall, H. Matisse, G. Braque et al and a suite of 42 sheets with color decompositions of G. Braques's graphic ('Nature morte aux huitres'). - Slightly foxed in places, wrapper slightly split in places, front joint of case blemished. All in all fine and clean copy with the prints in strong impression. Dieses Objekt wird regel- oder differenzbesteuert angeboten.
Pablo Picasso Jeu de la corrida. Orig.-Lithographie. In Rotstift unten links signiert. Im Stein datiert '24.5.57'. Bildgröße 53 : 71 cm. - Papierformat 57 : 76 cm. Eine von Picassos berühmten Stierkampfszenen in 1 von 50 numerierten Exemplaren auf Velin d'Arches. LITERATUR: Bloch 832. - Mourlot 293. 1 of 50 numb. copies, on Arches wove paper signed in red pencil in lower left. - In the white margins minim. foxed, at the lower margin with barely visible waterstain, with 2 small marginal tears, verso with several small remnants of mounting as well as 3 larger paper thinnings in the margins (not shining through). Dieses Objekt wird regel- oder differenzbesteuert angeboten.
Estampes Introduction de Robert Rey. Paris/Nizza, L'image littéraire sowie New York, R. Finelli-Feugère 1950. - Aufwendig gedruckte Pariser Luxusedition - 1 von 150 Exemplaren - Mit signierten Arbeiten von Chagall, Picasso, Matisse und Braque - Exemplar mit der Suite von Pablo Picasso 1 von 150 numerierten Exemplaren. - Sehr breitrandiger Druck aus dem Atelier Coulouma, Paris, auf kräftigem, chamoisfarbenen van Gelder Zonen-Bütten mit Wasserzeichen, Papierformat 46,5 : 36,5 cm; Paginierung, Initialen und Titel in Rot. Die schönen, großformatigen und qualitativ hochwertigen Farbholzschnitte stammen von Gérard Angiolini nach Originalen von: Georges Braque, Maurice Brianchon, Marc Chagall, François Desnoyer, Raoul Dufy, Marie Laurencin, Henri Matisse, Pablo Picasso, Maurice Utrillo, Kees van Dongen, Maurice de Vlaminck und Henry de Waroquier. Sie wurden sämtlich von den Künstlern signiert, überdies wurden sie handschriftlich numeriert, im Unterrand typographisch bezeichnet und auch vom Herausgeber Robert Rey signiert. Die Textbeiträge zu den einzelnen Blättern stammen u. a. von Jean Cocteau, Jean Cassou, Pierre MacOrlan und André Maurois, sie wurden von den Autoren gleichfalls signiert. - Exemplar mit der umfangreichen Suite von Andrucken der einzelnen Farbstöcke zu der Graphik von Pablo Picasso; gedruckt auf chamoisfarbenem Lana-Vélin mit Wasserzeichen. Der Kunsthistoriker und -kritiker Robert Rey (1882-1964) war eine der zentralen Figuren der Pariser Kunstszene im 20. Jahrhundert. Er war u. a. Mitglied der Académie des Beaux-Arts, der École de Louvre und der École nationale supérieure des Beaux-Arts und pflegte enge Beziehungen zu vielen bedeutenden Künstlern, mit Matisse, Dunoyer de Segonzac und Utrillo war er befreundet. Einband: Lose Lagen in Orig.-Broschur mit Umschlagtitel in Rot, in dunkelblauer Orig.-Maroquinkassette mit goldgeprägtem Deckeltitel. 47 : 37,5 cm. - ILLUSTRATION: Mit 12 signierten Farbholzschnitten nach P. Picasso, M. Chagall, H. Matisse, G. Braque u. a. sowie einer Suite von 46 Blatt Farb-Dekompositionen zu der Graphik von P. Picasso ('La Casserole émaillé'). - ZUSTAND: Tlw. sehr leicht stockfl., Broschur etw. eingerissen, vord. Kassetengelenk lädiert. Insgesamt gutes sauberes Exemplar, mit kräftigen Abzügen der schönen Künstlergraphiken. - PROVENIENZ: Privatsammlung Rheinland-Pfalz. LITERATUR: Monod 4359. Lavishly made Paris de-luxe edition. 1 of 150 copies, with signed works by Chagall, Picasso, Matisse and Braque. This copy with the suite by Pablo Picasso. Loose sheets in orig. wrappers with cover title in red, in dark blue orig morocco case with gilt-lettered title. 47 : 37.5 cm. With 12 signed color woodcuts after P. Picasso, M. Chagall, H. Matisse, G. Braque et al and a suite of 46 sheets with color decompositions of P. Picasso's graphic ('La Casserole émaillée). - Slightly foxed in places, wrapper slightly split in places, front joint of case blemished. All in all fine and clean copy with the prints in strong impression. Dieses Objekt wird regel- oder differenzbesteuert angeboten.
Robert Lenkiewicz (1941-2002), inscribed on the painting 'Amelia before Chateau, where Picasso lived and is buried', Provence trip, circa 1968, ballpoint pen over watercolour, 28cm x 20cm, framed and glazed, overall size 56cm x 46cm, with MWFA (Michael Wood Fine Art) Gallery label on reverse.
Thanos Tsingos (Greek, 1914-1965)Cannes signé et date 'TSINGOS 59' (en bas à droite); signé et daté 'No 104/ TSINGOS/ 59' (au verso)huile sur toile162 x 130cm (63 3/4 x 51 3/16in).Peint en 1959.signed and dated (lower right); signed and dated (on the reverse)oil on canvasFootnotes:ProvenanceGalerie 65, Cannes.Private collection, Athens.ExposéCannes, Galerie 65, Tsingos, 1959, no. 104. Athens, National Gallery - Alexandros Soutzos Museum, Thanos Tsingos, July 1980, no. 60 (listed, p. 36, and illustrated in the exhibition catalogue).Athens, National Gallery - A. Soutzos Museum, Reminiscences, Transformations, Quests, Ministry of Culture and Science - Athens Cultural Capital of Europe, 1985 (illustrated in the exhibition catalogue, p. 93).In 1959, Tsingos reached the pinnacle of his success, reaping laurels in Cannes for his one-man show at Gallery 65. His paintings were sold in Europe, the USA and Canada, while his London galleries consistently promoted his work.1In Cannes, a brilliant picture included in this breakthrough show, sinewy calligraphic lines and abstractive shapes worked with thick impasto into a kind of sculptural form, are freely combined on a shimmering surface to evoke the meeting of sea and land and produce a highly personal interpretation of the cosmopolitan port in the South of France that recalls the leisurely pleasure found by Picasso at Antibes, Bonnard at Le Cannet, and Dufy in Nice.Bursting with intensity and verve, the painting showcases the artist's sensitivity for the materiality of paint and fascination with texture and colour (note the dazzling white and red highlights on a wonderful sea of green gleaming with an imaginative blend of hues including olive, mineral, forest, hunter, India, pine and midnight greens.) The immediacy of the execution, reminiscent of the surrealist automatic writing, shifts the centre of gravity from the production of images to the process of painting. The viewer's eye travels along the vigorous lines, following the movement of the painter's hand, his romantic gesture which reveals the liberation of confined energy.Starting in 1954, Tsingos used to spend spring and summer months in the Côte d'Azur, often working fervently on new projects that represent some of the most inspired formulations of art informel, Europe's response to the high-rhetoric of America's abstract expressionism. 1 See Thanos Tsingos - Yannis Gaitis [in Greek], exhibition catalogue, Cyclades Gallery, Ermoupolis, 2004.En 1959, Tsingos a atteint l'apogée de son succès, à l'occasion de l'exposition qui lui a été consacrée à Cannes par la Galerie 65 et a couronné son œuvre. Ses peintures ont été vendues en Europe, aux États-Unis et au Canada, et ses galeries londoniennes n'ont cessé de promouvoir son œuvre. À Cannes, cette exposition capitale a permis de voir cette œuvre brillante, qui combine librement des lignes calligraphiques nerveuses et des formes abstraites travaillées avec un empâtement épais dans une sorte de forme sculpturale, sur une surface chatoyante qui évoque la rencontre de la mer et de la terre et qui livre une interprétation extrêmement personnelle de ce port cosmopolite du sud de la France, clin d'œil aux villégiatures de Picasso à Antibes, de Bonnard à Le Cannet et de Dufy à Nice.Caractérisée par une touche et une verve intenses, cette peinture révèle la sensibilité de l'artiste pour la matière de la peinture et sa fascination pour la texture et la couleur (on notera le blanc éblouissant et les touches de rouge sur une mer verte merveilleuse, scintillant dans un mélange incroyable de teintes, y compris des verts olive, minéraux, forestiers, chasseur, indiens et sapin, ou encore des verts nuit). La spontanéité de l'exécution, qui rappelle l'écriture automatique des surréalistes, déplace le centre de gravité de la production d'images vers le processus de la création picturale. L'œil du spectateur voyage le long des lignes vigoureuses, suivant le mouvement de la main du peintre, et sa gestuelle romantique qui révèle la libération d'une énergie contenue.À partir de 1954, Tsingos a pris l'habitude de passer le printemps et l'été sur la Côte d'Azur, travaillant souvent avec ferveur à de nouveaux projets qui représentent certaines des formulations les plus inspirées de l'art informel, réponse de l'Europe à la rhétorique rigide de l'expressionnisme abstrait américain.For further information on this lot please visit Bonhams.com
PABLO PICASSO (1881-1973)Vallauris inscribed 'Vallauris' (upper centre) and dated '1956' (lower centre); stamped with the artist's signature, the François and Pierre Hugo reference number and numbered 'Picasso 1437 11/20' and stamped with the goldsmith's mark and the French assay mark for gold (on the reverse and the suspensory loop)gold repoussé medallion with wooden presentation box5.1cm (2in) diameterConceived in 1956 and executed in gold by François & Pierre Hugo in a numbered edition of 20 plus two épreuves d'artiste and two épreuves d'auteur.Footnotes:The authenticity of this work has been confirmed by Ateliers Hugo.ProvenanceAtelier François & Pierre Hugo, France.Private collection, France (acquired from the above).Private collection, London (a gift from the above). LiteratureG. Bloch, Pablo Picasso, Catalogue de l'oeuvre gravé céramique 1949-1971, Vol. III, Bern, 1972, no. 92 (ceramic version illustrated p. 78).A. Ramié, Picasso, Catalogue of the edited ceramic works, 1947-1971, Madoura, 1988, no. 330-331 (ceramic versions illustrated pp. 168-169).C. Siaud & P. Hugo, Bijoux d'artistes, Hommage à François Hugo, Aix-en-Provence, 2001, no. 1437 (another version illustrated p. 153).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
HENRI MATISSE (1869-1954)Nu (femme) debout, also titled Nu près du paravent signed 'Henri Matisse' (upper right)oil on canvas laid down on panel33.5 x 19.5cm (13 3/16 x 7 11/16in).Painted between late 1905 and early 1906Footnotes:The authenticity of this work has been confirmed by Georges Matisse.Please note this work has been requested for inclusion in the landmark exhibition Matisse: Life & Spirit, Masterpieces from the Centre Pompidou, Paris at the Art Gallery of NSW, Sydney, Australia, 20 November 2021 – 13 March 2022. ProvenanceMichael & Sarah Stein Collection, Paris and San Francisco (acquired directly from the artist through Galerie Druet by 28 April 1906, until at least 1942).James Vigeveno Gallery, Los Angeles (probably acquired from the above in the 1940s).Robert Ardrey & Helen Johnson Ardrey Collection, Oklahoma (acquired from the above in May 1950, until circa 1973-1974).Galerie Yoshii, Tokyo (acquired circa 1973-1974).Shoji Uehara Collection, Japan (acquired from the above on 27 December 1974).Galerie Yoshii, Tokyo (acquired from the above in 1977).Anon. sale, Sotheby's, London, 7 December 1977, lot 28.Private collection, South Africa (acquired at the above sale).Thence by descent to the present owner.ExhibitedParis, Galerie Druet, Henri Matisse, 19 March - 7 April 1906, no. 8.Los Angeles, University of California, Years of Ferment, The Birth of Twentieth Century Art 1886-1914, 24 January – 7 March 1965, no. 34 (later travelled to San Francisco and Cleveland; dated 1904-1905).Paris, Grand Palais, Henri Matisse, Exposition du Centenaire, 21 April - 21 September 1970, no. 80.New York, Museum of Modern Art, Four Americans in Paris, The Collection of Gertrude Stein and her Family, December 1970, no. 15 (later travelled to San Francisco).Tokyo, Galeries Seibu, Exposition les fauves, 15 August - 24 September 1974 (later travelled to Kanazawa).Dalhousie, Nova Scotia, Dalhousie Art Gallery, Aspects of 19th and 20th Century European Art, Part I: Henri Matisse (1869-1954), 23 October 1980 – 4 January 1981.LiteratureA.H. Barr Jr., Matisse, His Art and His Public, New York, 1951, p. 82 (illustrated p. 20).L.M. Golson, 'The Michael Steins of San Francisco: Art Patrons and Collectors', in Four Americans in Paris, The Collections of Gertrude Stein and her Family, exh. cat., New York, 1970, no. 15, p. 43 (illustrated pp. 41, 45 & 117).M. Luzi & M. Carra, L'opera di Matisse, dalla rivolta 'fauve' all'intimismo 1904-1928, Milan, 1971, no. 83 (illustrated p. 88).G-P. & M. Dauberville, Matisse, Vol. I, Paris, 1995, no. 64 (illustrated p. 399).H. Spurling, The Unknown Matisse, A Life of Henri Matisse, Vol. I: 1869-1908, London, 1998, pp. 348 & 352 (illustrated pp. 347 & 383).J.C. Bishop, C. Debray & R.A. Rabinow (eds.), The Steins Collect, Matisse, Picasso and the Parisian Avant-Garde, exh. cat., San Francisco, 2011, no. 112, pp. 133 & 148n15 (illustrated pp. 381, 382, 385, 387 & 411).S. Steinberg, 'Sarah Stein: The Woman Who Brought Matisse to San Francisco', in American Imago, Vol. 68, no. 3, Fall 2011, pp. 521 & 526 (titled 'Nude Woman with Red Hair' and 'Woman with Red Hair').Nu (femme) debout, also titled Nu près du paravent dates from the pinnacle of Henri Matisse's Fauvist period when his unbridled use of colour and handling of pigment was at its most radical and liberated. With an intensity and boldness of palette almost unparalleled in this first Fauve phase of Matisse's oeuvre, Nu (femme) debout stands as a quintessential example of Fauvism, while the manner of execution and figurative subject reveal the artist's tantalising first steps towards his celebrated decorative style. Acquired shortly after completion by arguably the most significant patrons and collectors of his early career, Michael and Sarah Stein, the present work is distinguished by exceptional provenance and remains a rare example of a figurative Fauvist work by Matisse not already housed in a museum collection. Nu (femme) debout also carries the important epitaph of being one of the first three works by Matisse to have ever been seen in America, and there is no doubt that the presentation of this work, along with the astounding promotional efforts of Sarah Stein, helped to secure Matisse's name in the United States, and beyond, as synonymous with the development of modern art in the twentieth century. Nu (femme) debout was painted in the immediate aftermath of the infamous Salon d'Automne of October 1905, the exhibition which appalled the French public and birthed the Fauvist movement. The site of the scandal was the ultimate showcase for modern and contemporary art with room VII, a central room at the Grand Palais, as the arena of the spectacle. Gracing the walls were the radically vibrant paintings that Matisse and André Derain had created in Collioure earlier that summer, along with paintings of a similarly clamorous palette by artists such as Henri Manguin, Albert Marquet, Maurice de Vlaminck and Georges Rouault. Contemporary art critic Louis Vauxcelles referred to the room as the 'cage of wild beasts' ('cage aux fauves'), and thus this cohort acquired its sobriquet. Visitors to the exhibition were aghast at the 'savage' presentation within Salle VII. The paintings employed a hitherto unseen style of execution and defied every prevailing artistic convention. Colour was freed from its mimetic function and applied unfettered, as if directly from the tube, with liberal, even sketchy brushwork. The effect was, as Vauxcelles recorded, 'an orgy of pure tones'. Amongst the various landscapes of Collioure, the painting which caused the greatest uproar was Matisse's portrait of his wife, Amélie - the now iconic Femme au chapeau, which today resides in the collection of the San Francisco Museum of Modern Art. The inclusion of this work within the exhibition not only secured Matisse's position as the leader of the Parisian avant-garde but crucially marked the beginning of a profound relationship between him and the most significant friends and patrons of his early career, the Steins.Leo, Gertrude, Michael and Sarah Stein all attended the vernissage along with, now fabled collectors, Claribel and sister Etta Cone who were friends of Gertrude's and Leo's from Baltimore. The Americans were unique in their quiet admiration for Femme au chapeau. Therese Jelenko, who accompanied the Steins on their visit to the Salon, recalled seeing 'Frenchmen doubled up with laughter before it, and Sarah saying 'it's superb' while Mike couldn't tear himself away' (Four Americans in Paris, The Collections of Gertrude Stein and her Family, exh. cat., New York, 1970, p. 42). Were it not for the pioneering discernment of the family, Matisse would have considered the Salon d'Automne to have been an unmitigated failure. However, in the event, Sarah and her brother-in-law Leo decided to purchase the ground-breaking work for the family. The painting initially resided with Leo and Gertrude before latterly forming part of Michael and Sarah's collection. Up until this moment Matisse had, by and large, been overlooked or dismissed by the French, but the acquisition of Femme au chapeau was to alter the course of Matisse's fortunes, whereby his subsequent friendship with the Steins, most importantly Sarah Stein, not only transformed his financial circumstances, but secured his recognition and legacy internationally. As Matisse's grandson, Claude Duthuit, noted, 'Without the Americans...he would have starved' (Duthuit quoted in J. Bishop, 'Sarah and Michael Stein in America' in The... This lot is subject to the following lot symbols: * AR* 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.For further information on this lot please visit Bonhams.com
After Pablo Picasso (881-1973) Femme ala Toilette 245/500, signed and numbered in pencil by Marina Picasso, bearing printed 'Approuvé par les héritiers de Pablo Picasso' on the reverse, lithograph on woven paper, 76 x 56cm, unframed.Condition report: At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a full condition report
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