* ADRIAN WISZNIEWSKI RSA HonFRIAS HRSW (SCOTTISH b. 1958), ART SCHOOL acrylic on canvas, signed and dated 2020, titled label versoframed and under glass image size 59cm x 49cm, overall size 67cm x 56cmLabel verso: Open Eye Gallery, EdinburghNote: Adrian Wiszniewski creates work characterised by a strong drawing element and fertile imagination. Populated with contemplative figures set in vividly coloured Arcadian landscapes, his paintings are rich with symbolic, political and philosophical depths. Adrian Wiszniewski (pronounced Vishnevski) was born in Glasgow in 1958 and studied architecture at The Mackintosh School of Architecture in Glasgow 1975–79; then trained at Glasgow School of Art, 1979–83. Wiszniewski is one of the leading members of the New Glasgow Boys responsible for the revival and resurgence of figurative painting under the tutelage of Sandy Moffat OBE; a group of artists that included Steven Campbell, Ken Currie and Peter Howson. His multiple awards include the Haldane Trust Award in 1982, the David Cargill Scholarship in 1983, the Mark Rothko Memorial Award in 1984, the I.C.C.F. Best Design Award New York in 1993 and the Lord Provost Gold Medal from City of Glasgow in 1999. His work can be found in many international public collections including The Gallery of Modern Art in New York, The Metropolitan Museum, New York, The Setagaya Museum, Tokyo, Japan, The Scottish National Gallery of Modern Art, Edinburgh, Tate Britain, London and The Victoria and Albert Museum, London. Wiszniewski has had numerous major solo exhibitions over many years including in London, Sydney, Edinburgh, Glasgow, Ghent and Tokyo.
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* ADRIAN WISZNIEWSKI RSA HonFRIAS HRSW (SCOTTISH b. 1958), STILL WATERS mixed media on canvas, signed and dated '18, titled label versoframed image size 50cm x 60cm, overall size 60cm x 70cm Label verso: Open Eye Gallery, Edinburgh.Note: Adrian Wiszniewski creates work characterised by a strong drawing element and fertile imagination. Populated with contemplative figures set in vividly coloured Arcadian landscapes, his paintings are rich with symbolic, political and philosophical depths. Adrian Wiszniewski (pronounced Vishnevski) was born in Glasgow in 1958 and studied architecture at The Mackintosh School of Architecture in Glasgow 1975–79; then trained at Glasgow School of Art, 1979–83. Wiszniewski is one of the leading members of the New Glasgow Boys responsible for the revival and resurgence of figurative painting under the tutelage of Sandy Moffat OBE; a group of artists that included Steven Campbell, Ken Currie and Peter Howson. His multiple awards include the Haldane Trust Award in 1982, the David Cargill Scholarship in 1983, the Mark Rothko Memorial Award in 1984, the I.C.C.F. Best Design Award New York in 1993 and the Lord Provost Gold Medal from City of Glasgow in 1999. His work can be found in many international public collections including The Gallery of Modern Art in New York, The Metropolitan Museum, New York, The Setagaya Museum, Tokyo, Japan, The Scottish National Gallery of Modern Art, Edinburgh, Tate Britain, London and The Victoria and Albert Museum, London. Wiszniewski has had numerous major solo exhibitions over many years including in London, Sydney, Edinburgh, Glasgow, Ghent and Tokyo.
Two Shoichi Hasegawa etchings on Moulin du Gue paper: Shoichi Hasegawa (Japanese, b. 1929) Fleuve Tranquille Etching on Moulin du Gue paper Signed and titled in pencil on margins Numbered 58/110 Framed 62 x 52cm ( 24" x 20.2") Shoichi Hasegawa (Japanese, b. 1929) Printemps sur la ville, 1985 Etching on Moulin du Gue paper Signed and titled in pencil on margins Numbered 100/110 Framed 62 x 52cm ( 24" x 20.2") Shoichi Hasegawa (Japanese, b 1929) is a contemporary Japanese abstract painter and printmaker. His watercolors, transparent yet dense and symbolically coded, are influenced by Lyrical Abstraction and artists like Mark Rothko and Paul Klee. He employs soft, pastel palettes and layered textures to create works that reflect the laborious process that goes into their making. Born in Yazu, Japan in 1929, Hasegawa studied drawing and painting at the Kokuga Institute in Kyoto, Japan. In 1961, he moved to Paris to work with the British artist Stanley William Hayter at Atelier 17, and began showing work internationally at that time. Today, Hasegawa’s paintings and delicate prints are in the collections of the Bibliothèque nationale in Paris, The Museum of Modern Art in New York, the Victoria and Albert Museum in London, the Norrköpings Museum of Art, and the Museum Fuji in Tokyo. Hasegawa lives and works in Val-d'Oise, France—notably, the same place where the celebrated Impressionist master Claude Monet once lived. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
William Scott. (1913 Greenock - 1989 London). Scalpay. 1963. Farblithographie auf Arches Velin (mit WZ). 50 x 65,5 cm. Signiert, datiert und nummeriert. Mit dem Trockenstempel der Edition Wolfgang Ketterer. - An den Seiten mittig je mit kleinem Einstichloch als Spur der ehemaligen Montierung. Punktuell leichte Finger-, Farb- und Atelierspuren, auch verso. Insgesamt ausgesprochen gut. Prachtvoller, farbsatter und austarierter Druck der formatfüllenden Darstellung, mit Schöpfrand an der linken und rechten Seite. Ketterer Editionsverzeichnis 189. - Eines von 100 Exemplaren. - Aus dem Portfolio "Europäische Graphik I (Englische Künstler)". - Hg. Edition Wolfgang Ketterer in Zusammenarbeit mit Felix H. Mann, München 1963. - Der schottische Künstler William Scott RA ist mit seinem Werk der abstrakten Malerei der Nachkriegskunst zuzuordnen. Interessante Facetten erhält sein Werk auch aus der figurativen, klassischen Malerei, die Scott ab dem Alter von 14 Jahren intensiv studierte. Künstler wie Picasso, Modigliani und Cézanne prägten Scott in ästhetischer Hinsicht. Er beginnt 1928 ein Studium der Malerei am Belfast Collage of Art, welches er an der Royal Academy Schools in London fortsetzt. Bis dahin ist sein Frühwerk figurativer, verspielter. Mit einer Studienreise in die USA verändert sich Scotts Stil maßgeblich. Er lernt mit Mark Rothko, Franz Kline und Jackson Pollock die führenden Künstler des Abstrakten Expressionismus, Actions Painting und der New York School persönlich kennen. Sein Stil wird flächiger, die Formensprache wesentlich abstrahierter. Die Teilnahmen an der Documenta der Jahre 155, 1959 und 1964 mit seinen neu geschaffenen Werken eben Scott den internationalen Durchbruch, es folgen institutionelle Ausstellungen. 1984 wird zum Mitglied der Royal Academy berufen. 5 Jahre später, 1989 erliegt Scott einer langjährigen Alzheimer-Erkrankung. Colour lithograph on Arches wove paper. Signed, dated and numbered. With the dry stamp of Edition Wolfgang Ketterer. - Small pinhole in the centre of each side as a trace of the former mounting. Light finger, colour and studio traces in places, also On the verso. Extremely good overall. Splendid, colourful and well-balanced impression of the full-format depiction, with scoop margins on the left and right sides. - One of 100 copies. - From the portfolio "Europäische Graphik I (Englische Künstler)". - Pub. Edition Wolfgang Ketterer in collaboration with Felix H. Mann, Munich 1963. - The Scottish artist William Scott's work can be categorised as post-war abstract painting. His work also takes on interesting facets from figurative, classical painting, which Scott studied intensively from the age of 14. Artists such as Picasso, Modigliani and Cézanne influenced Scott aesthetically. He began studying painting at the Belfast Collage of Art in 1928, which he continued at the Royal Academy Schools in London. Until then, his early work was more figurative and playful. Scott's style changed significantly during a study trip to the USA. He became personally acquainted with Mark Rothko, Franz Kline and Jackson Pollock, the leading artists of Abstract Expressionism, Action Painting and the New York School. His style became more two-dimensional and his formal language much more abstract. Scott's participation in the Documenta in 1959 and 1964 with his newly created works led to his international breakthrough, followed by institutional exhibitions. In 1984 he was appointed a member of the Royal Academy. 5 years later, in 1989, Scott succumbed to Alzheimer's disease.
Aubrey Williams, Guyanese/British 1926-1990 - Untitled, 1967; ink on paper, signed and dated 'Aubrey Williams 67', 12.4 x 14.7 cm (ARR) Provenance: the Estate of Andrew Salkey (1928-1995) Note: this piece is typical of Williams's style of the 1960s, combining abstract impressionist tendencies with the forms and symbols of the pre-Colombian art of the indigenous inhabitants of the Americas. Williams was strongly influenced by American artists associated with Abstract Expressionist such as Jackson Pollock, Mark Rothko and Willem de Kooning, having seen major exhibitions of their works at the Tate Gallery in London in 1956 and 1959. After moving to the city in the 1950s, Williams became a major figure in the London art world, especially through his connection with the South African artist Denis Bowen, who founded the New Visions Gallery in London. Williams co-founded the Caribbean Artists Movement with other London-based Caribbean artists and intellectuals, such as Ronald Moody, Stuart Hall and Orlando Patterson. His artwork is currently in the collection of the Tate in London, the Arts Council, the Royal Albert Memorial Museum and the Bristol Museum and Gallery, among others. His work was central to the 2022 exhibition, 'Post-war Modern: New Art in Britain 1945-1965' at the Barbican Centre, London and other recent internationally acclaimed shows including 'Life Between Islands: Caribbean-British Art 50s – Now', 2021 at Tate Britain and 'The Gift of Art', 2018 at the Perez Art Museum, Miami.
Selina Trieff, American 1934-2015 - Woman, 1997; mixed media on card, signed and dated lower left 'Trieff '97', 30.6 x 30.7 cm (unframed) Note:Trieff was a student of Ad Reinhardt and Mark Rothko at Brooklyn College and later was taught by Hans Hofmann at his schools in New York and Provincetown.
Aubrey Williams, Guyanese/British 1926-1990 - Rastaman, 1970; gouache on canvas laid down on board, signed and dated lower right 'Aubrey Williams 70' and titled lower left 'Rastaman', 47.8 x 32 cm (ARR) Provenance: the Estate of Andrew Salkey (1928-1995) Note: similar works are now in the Tate archive. Williams was strongly influenced in the 1950s by American artists associated with Abstract Expressionist such as Jackson Pollock, Mark Rothko and Willem de Kooning, having seen major exhibitions of their works at the Tate Gallery in London in 1956 and 1959. After moving to the city in the 1950s, Williams became a major figure in the London art world, especially through his connection with the South African artist Denis Bowen, who founded the New Visions Gallery in London. Williams co-founded the Caribbean Artists Movement with other London-based Caribbean artists and intellectuals, such as Ronald Moody, Stuart Hall and Orlando Patterson. His artwork is currently in the collection of the Tate in London, the Arts Council, the Royal Albert Memorial Museum and the Bristol Museum and Gallery, among others. His work was central to the 2022 exhibition, 'Post-war Modern: New Art in Britain 1945-1965' at the Barbican Centre, London and other recent internationally acclaimed shows including 'Life Between Islands: Caribbean-British Art 50s – Now', 2021 at Tate Britain and 'The Gift of Art', 2018 at the Perez Art Museum, Miami.
OLIVIER DEBRE (1920-1999)Coulée diagonale jaune rose 1986 signé, titré et daté 86 au revers huile sur toile signed, titled and dated 86 on the reverse oil on canvas 100 x 100 cm. 39 3/8 x 39 3/8 in.Footnotes:Cette œuvre est enregistrée auprès des Archives Olivier Debré, Tours ; un certificat des Archives Olivier Debré sera remis à l'acquéreur. Provenance Collection particulière, FranceVente : Cornette de Saint Cyr, Paris, Art Contemporain, 27 juin 2011, lot 46Acquis lors de cette vente par le propriétaire actuelComme la terre soupire lentement avant d'entrer dans l'ombre, les toiles d'Olivier Debré offrent quelque chose qui donne à l'homme la mesure de son identité. De ses vues, empreintes du monde sensible (« l'espace est le lieu et la révélation à la fois », dit le peintre), l'artiste prélève une forme qui génère sa propre forme. L'évanouissement des contours, qu'il appelle de ses vœux, permet en une simple toile la passation imperceptible du mouvement à l'espace, de la couleur à la lumière, du mouvement au temps. Chacune de ses œuvres est un tout, dont l'éternel présent est fait de chair.Son art, épris d'élan et de solitude, d'une structure picassienne s'est, au début des années 1940, paré. Bouleversé par le tableau Guernica, qu'il découvre en juin 1937 au pavillon de l'Espagne lors de l'Exposition universelle à Paris, le jeune artiste décide de rencontrer le maître, qui l'invite régulièrement dans son atelier des Grands-Augustins pendant l'hiver 1942-1943. C'est à cette époque que Georges Aubry, dont la galerie est située non loin de là, décide de l'exposer. Ses premières toiles abstraites sont autant de parcelles où l'artiste, au couteau ou à la brosse, travaille l'espace et son vide. Le plan devient une étendue.Sa première exposition personnelle, à la galerie Bing, attire l'attention du grand critique Charles Estienne qui l'invite au salon d'Automne, en 1952 aux côtés de Zao Wou-Ki, Degottex, Poliakoff et Manessier. Matiéristes, aux couleurs sourdes, ses toiles vernaculaires invitent l'esprit à un raisonnement à rebours : l'intérieur ne peut s'atteindre que par l'extérieur, parce que ses peintures sont un dévoilement fait d'accords silencieux.La Perspective Gallery, à New York, puis la célèbre Knoedler Gallery, lui assurent une reconnaissance internationale. En 1959, après un voyage en Espagne, il expose à la Phillips Gallery de Washington où le peintre rencontre Mark Rothko et Franz Kline. Les années 1960, qui débutent avec une double-exposition Paris/New York à la galerie Knoedler, seront celles de la consécration. L'artiste, dans ses œuvres ferventes, recueille avec patience le surgissement ultime. Si le peintre s'incarne dans le geste, il est un sujet où se confondent les battements de son sang et la possession tumultueuse de l'onde tourangelle. L'incessante éclosion de la Loire, dans ses tableaux des années 1980, est devenue si iconique de son Œuvre qu'il nous est aujourd'hui difficile d'observer le fleuve royal sans y déceler l'onctuosité héraclitéenne de ces toiles où se devine la lassitude rougissante d'un jour qui s'éteint ou la virginale clarté indécise d'une aube naissante. Dans ses toiles fluides et légères, Olivier Debré convoque la complicité du ciel en créant sur le motif. Les gouttelettes de pluie et les taches ajoutent un éclat capiteux à sa matière ductile, hic et nunc. En recueillant l'épanchement ou le frémissement de la couleur qui s'évade (l'artiste penche la toile, une fois celle-ci achevée), Olivier Debré a fait de ces ourlets de matière sa signature. Ces sédiments sont autant de fragments.Faisant siens les mots de Bachelard : « la rêverie dynamique dans l'intimité matérielle », ce peintre combat le réalisme pour faire du réel sa véritable quête ; les embruns, sous son pinceau, se ressentent, comme une chaleur cuivrée émane de sa Coulée diagonale jaune rose créée en 1986. Révélant l'orgueil naturel de la beauté du monde, Olivier Debré extrait de notre vue ce qu'il y a de plus beau : le regard.As the earth exhales gently before slipping into the shadows, Olivier Debré's paintings offer the means to the measure of one's identity. From his views, captured within the perceptible world—space is at once a place and a revelation, says the painter—, the artist retrieves a shape that in turn generates another shape. When contours become precarious, a moment he so looks forward to, then within a single canvas is held the imperceptible passage from movement to space, from colour to light, from movement to time. Each of his works is an entity, the eternal present of which is made tangible.His art, suffused with élan and solitude, in the early 1940s, adopted a Picasso-like structure. Moved by the painting Guernica, which he discovered in June 1937 in the Spanish pavilion at the Universal Exhibition in Paris, the young artist decided to meet the master who, during the winter of 1942-1943, invited him regularly to his studio at the Grands-Augustins. It was at this time that Georges Aubry, whose gallery was located nearby, decided to exhibit his work. His first abstract canvases were composed of a number of colour fields where the artist, using a knife or a brush, worked on space and its emptiness. The plane became an expanse.His first solo exhibition, at the Bing Gallery, attracted the attention of the great critic Charles Estienne, who invited him to the Salon d'Automne in 1952, alongside Zao Wou-Ki, Degottex, Poliakoff and Manessier. His vernacular canvases, with thick impasto and muted colours, invite us to reverse our thought process: since his paintings are an unveiling of silent agreements, one must, from the exterior seek out the interior. The Perspective Gallery in New York, followed by the famous Knoedler Gallery, afforded him international recognition. In 1959, after a trip to Spain, he exhibited at the Phillips Gallery in Washington, where he met Mark Rothko and Franz Kline. The 60s, which began with a double exhibition in Paris and New York at the Knoedler Gallery, were the years of his consecration. The artist, in his fervent works, patiently awaits the ultimate emergence. Though the painter is embodied in each gesture, he is a subject in which are merged the pulse of his blood flow and the rapture caused by the tumultuous waters of Touraine. The shimmering appearances of the Loire, in his paintings of the 1980s, have become so iconic of his work that it is now difficult to look at that Royal River without detecting Heraclitus's Flux in the unctuousness of his canvases; the blushing weariness of a fading day or the virginal, hesitant clarity of a new dawn. In his delicate, fluid canvases, Olivier Debré summons the complicity of the sky by creating on the motif. Raindrops and traces add a heady sheen to his ductile matter, here and now. By collecting the overflow or effervescence of the runaway colour (the artist tilts the canvas once it is finished), Olivier Debré has made such seams of matter his signature. Sediments which are as many fragments.Endorsing Bachelard's words he says: 'a dynamic reverie within the intimacy of matter', his true quest: by refusing realism to achieve what is real; the sea spray under his brush can be felt, just as a copper-coloured warmth emanates from his Coulée diagonale jaune rose created in 1986. Revealing the world's natural pride of beauty, Olivier Debré extracts from our sight that which is most beautiful: the gaze.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
PIERO DORAZIO (1927-2005)Sans titre 1957 signé et daté 57gouache et mine de plomb sur papier signed and dated 57gouache and graphite on paper 63 x 48 cm. 24 13/16 x 18 7/8 in.Footnotes:Cette œuvre est enregistrée auprès de l'Archivio Piero Dorazio, Milan ; un certificat de l'Archivio Piero Dorazio sera remis à l'acquéreur. Provenance Howard Wise Gallery, New YorkBarbara Wise, New York (par descendance)Moeller Fine Art, New York (acquis auprès de celle-ci circa 1992)Collection particulière, New YorkExpositions New York, Achim Moeller Fine Art, Piero Dorazio: Watercolors and Drawings, 3 -22 décembre 2002 New York, Moeller Fine Art, Piero Dorazio, 16 septembre - 12 novembre 2010Artiste italien incontournable, Piero Dorazio est une figure emblématique de l'abstraction italienne. Cosignataire du « Manifesto Forma 1 » (le peintre appartient au groupe éponyme), en 1947, l'artiste emporte cette année-là une bourse d'étude pour les Beaux-Arts de Paris où il rencontre et côtoie des créateurs visionnaires tels que Jean Arp, Sonia Delaunay, Gino Severini, Le Corbusier, Georges Vantongerloo parmi tant d'autres. En 1953, Piero Dorazio voyage pour la première fois aux Etats-Unis, où il rencontre le critique Clement Greenberg, le 'deus ex machina' de l'expressionisme abstrait, ainsi que les artistes Franz Kline, Robert Motherwell et Mark Rothko. L'artiste italien expose ses œuvres dans les prestigieux écrins de New York que sont la Wittenborn One-Wall Gallery et la Rose Fried Gallery. Entre 1960 et 1969, il devient professeur à l'University of Pennsylvania, véritable temple de l'enseignement des Beaux-Arts à cette époque aux Etats-Unis. Les cinq œuvres que nous avons l'honneur de présenter proviennent d'une importante collection privée américaine, dont le goût éclairé de l'amateur est devenu une référence incontournable. Celles-ci ont été réalisées pendant la période la plus féconde et la plus recherchée de l'artiste, de la fin des années 1950 au début des années 1960. Les œuvres de 1959, 1960 et 1962 font partie de la série très convoitée des 'Reticoli', dans laquelle Piero Dorazio peint ses trames majestueuses (reticoli). Il s'agit de ses compositions abstraites emblématiques comprenant des bandes de couleurs obliques, plus au moins épaisses et plus ou moins denses, exécutées à l'aquarelle, au pastel ou bien à l'encre. Ces œuvres, acquises auprès des descendants d'Howard Wise, le mythique marchand et mécène américain, n'ont jamais été offertes aux enchères. La composition de 1960 a été créée l'année où Dorazio fut honoré par une salle qui lui est entièrement consacrée à la Biennale de Venise. Cet évènement marquera sa reconnaissance muséale et commerciale, qui ne sera jamais démentie jusqu'à sa disparition en 2005.Piero Dorazio is a leading Italian artist and an emblematic figure of Italian abstraction. A co-signatory of the 'Manifesto Forma 1' (the painter belonged to the eponymous group) in 1947, that year he won a scholarship to study at the Beaux-Arts in Paris, where he met and befriended visionary artists such as Jean Arp, Sonia Delaunay, Gino Severini, Le Corbusier and Georges Vantongerloo, to name but a few. In 1953, Piero Dorazio travelled to the United States for the first time, where he met the critic Clement Greenberg, the 'deus ex machina' of abstract expressionism, as well as the artists Franz Kline, Robert Motherwell and Mark Rothko. The Italian artist exhibited his work in the prestigious New York venues of the Wittenborn One-Wall Gallery and the Rose Fried Gallery. Between 1960 and 1969, he became a professor at the University of Pennsylvania, a veritable temple for the teaching of Fine Arts at the time in the United States. The five works we have the honour of presenting come from a prestigious American collector, whose enlightened taste has become a reference in the world of art. They were produced during the artist's most prolific and sought-after period, from the late 1950s to the early 1960s. The works from 1959, 1960 and 1962 are part of the highly coveted 'Reticoli' series, in which Piero Dorazio paints his majestic wefts (reticoli). These are his emblematic abstract compositions featuring oblique bands of colour, varying in thickness and density, executed in watercolour, pastel or ink. These works, acquired from the descendants of Howard Wise, the legendary American art dealer and patron, have never before been offered at auction. The 1960 composition was created in the same year that Dorazio was honoured with a room entirely dedicated to him at the Venice Biennale. This event marked his recognition in museums and on the market, which would continue until his death in 2005.This lot is subject to the following lot symbols: * AR* VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Min WARDMAN (1951-2024) Golden Bird Acrylic and gold-leaf on canvas, studio stamp verso, 101.5cm x 76cm Min Wardman (1951-2024) Artist - Feminist - GardenerMin was born in Yorkshire in 1951, her mother an artist, her father a civil engineer. After a comprehensive education she was awarded an exhibition in Birmingham, followed by postgraduate studies in both History of Art and Painting in London.After graduating, Min found the London scene not to her taste, finding it too difficult to be taken seriously as a female painter. At the time, Devon was developing its Community Colleges and Min worked developing Textile and Printmaking courses across Bideford College, promoting modern ideas of Art and Art Education. After being promoted to Head of Department, teaching painting, ceramics, textiles and design, Min realised she wasn't having enough time to create her own work, so went part-time.Min studied art all her life. Landscape is a near constant within her work: there are stone monuments, myths and legends, birds, plants and other motifs which pass in and out of her paintings.Classical Art was a major influence, also the work of Rothko, Turner and Hokasai. Other favourite artists included Miro for block colour, Manrique for art and community planning and Picasso for returning to images and perseverance. Female artists, such as Barbara Hepworth, Rose Hilton, Wilhelmina Barns-Graham, Frida Kahlo and Tracey Emin were admired for their ability to keep working despite the patriarchy.Min was very private about her art, never exhibiting, rarely signing her work, allowing people into her studio or even talking about it. For her, art was her expressing her thoughts and not for the public to analyse or judge. On the wall of her studio were two unattributed quotes: 'Painting down to the bones of the matter', and 'Make slow paintings with mystery'. When Min died in 2024, she requested no announcement, funeral or obituary, - 'throw my body out in the orchard for the dogs...'
Min WARDMAN (1951-2024) Dean Quarry Blast Oil on canvas, studio stamp verso, 20cm x 20cm, 27cm x 27cm framed. Min Wardman (1951-2024) Artist - Feminist - GardenerMin was born in Yorkshire in 1951, her mother an artist, her father a civil engineer. After a comprehensive education she was awarded an exhibition in Birmingham, followed by postgraduate studies in both History of Art and Painting in London.After graduating, Min found the London scene not to her taste, finding it too difficult to be taken seriously as a female painter. At the time, Devon was developing its Community Colleges and Min worked developing Textile and Printmaking courses across Bideford College, promoting modern ideas of Art and Art Education. After being promoted to Head of Department, teaching painting, ceramics, textiles and design, Min realised she wasn't having enough time to create her own work, so went part-time.Min studied art all her life. Landscape is a near constant within her work: there are stone monuments, myths and legends, birds, plants and other motifs which pass in and out of her paintings.Classical Art was a major influence, also the work of Rothko, Turner and Hokasai. Other favourite artists included Miro for block colour, Manrique for art and community planning and Picasso for returning to images and perseverance. Female artists, such as Barbara Hepworth, Rose Hilton, Wilhelmina Barns-Graham, Frida Kahlo and Tracey Emin were admired for their ability to keep working despite the patriarchy.Min was very private about her art, never exhibiting, rarely signing her work, allowing people into her studio or even talking about it. For her, art was her expressing her thoughts and not for the public to analyse or judge. On the wall of her studio were two unattributed quotes: 'Painting down to the bones of the matter', and 'Make slow paintings with mystery'. When Min died in 2024, she requested no announcement, funeral or obituary, - 'throw my body out in the orchard for the dogs...'
Min WARDMAN (1951-2024) Untitled Mixed media on canvas, studio stamp verso, 50cm x 50cm Min Wardman (1951-2024) Artist - Feminist - GardenerMin was born in Yorkshire in 1951, her mother an artist, her father a civil engineer. After a comprehensive education she was awarded an exhibition in Birmingham, followed by postgraduate studies in both History of Art and Painting in London.After graduating, Min found the London scene not to her taste, finding it too difficult to be taken seriously as a female painter. At the time, Devon was developing its Community Colleges and Min worked developing Textile and Printmaking courses across Bideford College, promoting modern ideas of Art and Art Education. After being promoted to Head of Department, teaching painting, ceramics, textiles and design, Min realised she wasn't having enough time to create her own work, so went part-time.Min studied art all her life. Landscape is a near constant within her work: there are stone monuments, myths and legends, birds, plants and other motifs which pass in and out of her paintings.Classical Art was a major influence, also the work of Rothko, Turner and Hokasai. Other favourite artists included Miro for block colour, Manrique for art and community planning and Picasso for returning to images and perseverance. Female artists, such as Barbara Hepworth, Rose Hilton, Wilhelmina Barns-Graham, Frida Kahlo and Tracey Emin were admired for their ability to keep working despite the patriarchy.Min was very private about her art, never exhibiting, rarely signing her work, allowing people into her studio or even talking about it. For her, art was her expressing her thoughts and not for the public to analyse or judge. On the wall of her studio were two unattributed quotes: 'Painting down to the bones of the matter', and 'Make slow paintings with mystery'. When Min died in 2024, she requested no announcement, funeral or obituary, - 'throw my body out in the orchard for the dogs...'
Min WARDMAN (1951-2024) Untitled Collage Studio stamp verso, 59cm x 75cm, 67.5cm x 98cm framed. Min Wardman (1951-2024) Artist - Feminist - GardenerMin was born in Yorkshire in 1951, her mother an artist, her father a civil engineer. After a comprehensive education she was awarded an exhibition in Birmingham, followed by postgraduate studies in both History of Art and Painting in London.After graduating, Min found the London scene not to her taste, finding it too difficult to be taken seriously as a female painter. At the time, Devon was developing its Community Colleges and Min worked developing Textile and Printmaking courses across Bideford College, promoting modern ideas of Art and Art Education. After being promoted to Head of Department, teaching painting, ceramics, textiles and design, Min realised she wasn't having enough time to create her own work, so went part-time.Min studied art all her life. Landscape is a near constant within her work: there are stone monuments, myths and legends, birds, plants and other motifs which pass in and out of her paintings.Classical Art was a major influence, also the work of Rothko, Turner and Hokasai. Other favourite artists included Miro for block colour, Manrique for art and community planning and Picasso for returning to images and perseverance. Female artists, such as Barbara Hepworth, Rose Hilton, Wilhelmina Barns-Graham, Frida Kahlo and Tracey Emin were admired for their ability to keep working despite the patriarchy.Min was very private about her art, never exhibiting, rarely signing her work, allowing people into her studio or even talking about it. For her, art was her expressing her thoughts and not for the public to analyse or judge. On the wall of her studio were two unattributed quotes: 'Painting down to the bones of the matter', and 'Make slow paintings with mystery'. When Min died in 2024, she requested no announcement, funeral or obituary, - 'throw my body out in the orchard for the dogs...'
FÖRG, GÜNTHER1952 Füssen - 2013 FreiburgTitel: Ohne Titel. Datierung: 1989. Technik: Acryl auf Canson-Papier. Maße: 260 x 150cm. Bezeichnung: Signiert und datiert unten links: Förg 10/89. Bezeichnet unten rechts: FR 3/II. Rahmen/Sockel: Rahmen. Im Rahmen beschrieben. Das Werk ist unter der Nummer WVF.89.C.0386 im Archiv des Estate Günther Förg registriert. Wir danken Herrn Michael Neff vom Estate Günther Förg für die freundliche Bestätigung der Authentizität dieser Arbeit.Provenienz:- Galerie Rüdiger Schöttle, München- Privatsammlung NorddeutschlandLiteratur: - Galerie Gisela Capitain (Hrsg.): Günther Förg - Große Zeichnungen, Stuttgart 1990, Abb. S. 6- Starke räumliche Präsenz- Leuchtende Arbeit einer intensiven und wichtigen Schaffensphase die durch die besondere Geschlossenheit der Komposition überzeugt- Ausdruckstarke Farb- und Raummodulation in unverwechselbarer Bildsprache des KünstlersJenseits revolutionärer PrinzipienFörgs einfache Kompositionsformel kombiniert in Lot 40 zwei kräftige, warme Farbtöne miteinander. Auch hier ist seine Lust am Handwerk der Malerei gut zu erkennen, die die Oberfläche in Vibration versetzt. Durch die Verwendung von nur zwei Farbtönen erinnert der Künstler an den gestalterisch durchdachten Purismus von Piet Mondrian und der De Stijl-Bewegung. Im Gegensatz zu seinen geschätzten Vorgängern Barnett Newman und Mark Rothko, welche in ihren Werken eine in ihren Augen verlorene Einheit und Ordnung wiederherstellen zu versuchten, betont Förg: "Für mich ist die abstrakte Kunst heute das, was man sieht, und nicht mehr". (Aus einem Gespräch mit Thomas Groetz, in: Günther Förg. Bilder/Paintings 1973-1990, Galerie Max Hetzler, Berlin 2004). Denn Günther Förgs Bildsprache hat sich aus der Abstraktion entwickelt. Im Gegensatz zum Abstraktionsbegriff der Moderne oder den "Abstract Expressionists" kümmert sich Günther Förg wenig um "klassische" Kompositionsprinzipien. Farbe und Material ordnen die Bildfläche nach ihren eigenen Gesetzmäßigkeiten. Auf ein narratives Element oder eine metaphysische Aufladung des Dargestellten wird verzichtet. Der Künstler schöpft aus seinem reichen Reservoir an Inspirationen, adaptiert und transformiert Gesehenes und setzt in seinem Schaffen kontinuierlich neue Impulse in Bezug auf Material, Farbe und Raum.Lebendige KontrasteEine vorherrschende spielerische Dynamik halten die Gelb- und Orangetöne im Gleichgewicht und trennen das Werk in zwei unterschiedliche Bereiche - den flächigen Hintergrund und die rechteckigen gestalterischen Elemente. Das Werk verdeutlicht die Fähigkeit Günther Förgs, die sinnliche Kraft der Farbe mühelos und überzeugend zur Geltung zu bringen. Die abstrakten Formen, die fast spontan auf den Bildträger aufgebracht zu sein scheinen, laden den Betrachter unweigerlich zu freien Assoziationen ein. Die geometrische Struktur, die auf diese Weise entsteht, erinnert an Architekturbauten mit Fenstern oder Bögen, aber auch an die Eigenschaften von Natur und Landschaft. Die fließenden Linien von Förgs Pinselstrichen zeigen die elegante Anwendung von Gouache-Farben. "Ohne Titel" strahlt durch die kontrastreiche und chromatisch intensive Unterbrechung der Farben eine mitreißende Energie in den Raum hinaus aus. Hier zeigt sich Förgs Meisterschaft, den Betrachter mit minimalistischen malerischen Mitteln tief zu berühren. Voraussichtliche Versandkosten für dieses Los: Absprache nach der Auktion.Erläuterungen zum Katalog Günther Förg Deutschland Abstraktion Nachkriegskunst Unikate 1980er Rahmen. Im Rahmen beschrieben Farbe Papierarbeit Gouache Formen
Sammlung: von 12 Werkverzeichnissen in 17 Bdn. Versch. Formate, Künstler u. Einbde. ╔Enthält WVZ folgender Künstler:╗ Miro (Lithogr. V u. VI), Robert Motherwell, James Coignard, Maximilien Luce (2 Bde.), Mark Rothko, Piet Mondrian (2 Bde.), Paul Cezanne (2 Bde.), Joseph Beuys, Rene Magritte (3 Bde.), Velazquez, Toulouse-Lautrec. - Tls. in OVP.
* ADRIAN WISZNIEWSKI RSA HonFRIAS HRSW (SCOTTISH b. 1958), HEIRESS watercolour and pen on paper, signed and dated 2006, titled label versomounted, framed and under glass image size 21cm x 14cm, overall size 39cm x 33cm Label verso: The Open Eye Gallery, EdinburghNote: Adrian Wiszniewski creates work characterised by a strong drawing element and fertile imagination. Populated with contemplative figures set in vividly coloured Arcadian landscapes, his paintings are rich with symbolic, political and philosophical depths. Adrian Wiszniewski (pronounced Vishnevski) was born in Glasgow in 1958 and studied architecture at The Mackintosh School of Architecture in Glasgow 1975–79; then trained at Glasgow School of Art, 1979–83. Wiszniewski is one of the leading members of the New Glasgow Boys responsible for the revival and resurgence of figurative painting under the tutelage of Sandy Moffat OBE; a group of artists that included Steven Campbell, Ken Currie and Peter Howson. His multiple awards include the Haldane Trust Award in 1982, the David Cargill Scholarship in 1983, the Mark Rothko Memorial Award in 1984, the I.C.C.F. Best Design Award New York in 1993 and the Lord Provost Gold Medal from City of Glasgow in 1999. His work can be found in many international public collections including The Gallery of Modern Art in New York, The Metropolitan Museum, New York, The Setagaya Museum, Tokyo, Japan, The Scottish National Gallery of Modern Art, Edinburgh, Tate Britain, London and The Victoria and Albert Museum, London. Wiszniewski has had numerous major solo exhibitions over many years including in London, Sydney, Edinburgh, Glasgow, Ghent and Tokyo.
Robert Motherwell (1915–1991) was an American abstract expressionist painter, printmaker, and editor. He played a significant role in the development of abstract expressionism, a post-World War II art movement that emphasized spontaneous, gestural expression. Here are some key points about Robert Motherwell:1. **Early Life and Education:** Robert Motherwell was born on January 24, 1915, in Aberdeen, Washington. He studied at Stanford University, where he initially pursued a degree in philosophy. Later, he shifted his focus to art and earned a Bachelor of Arts in 1937.2. **Academic Background:** Motherwell pursued graduate studies in philosophy at Harvard University and later studied art at the California School of Fine Arts in San Francisco.3. **Introduction to Surrealism:** During a trip to Europe in the 1930s, Motherwell became exposed to Surrealist art and met several prominent artists associated with the movement, including Roberto Matta and André Breton. This exposure had a profound impact on his artistic development.4. **Abstract Expressionism:** In the 1940s, Motherwell became a key figure in the abstract expressionist movement, along with artists like Jackson Pollock, Willem de Kooning, and Mark Rothko. He was associated with the New York School, a group of avant-garde artists based in New York City.5. **Elegy to the Spanish Republic Series:** One of Motherwell's most significant and enduring bodies of work is the "Elegy to the Spanish Republic" series, which he began in 1948. This series, consisting of over 100 paintings, prints, and collages, was inspired by the Spanish Civil War.6. **Collage and Mixed Media:** Motherwell was known for incorporating collage elements into his paintings, often using torn paper, newspaper clippings, and other materials. This technique added depth and texture to his works.7. **Writings and Publications:** In addition to his artistic practice, Motherwell was actively engaged in writing about art and aesthetics. He edited the documents of the Surrealist movement and wrote essays on art theory.8. **Teaching Career:** Motherwell had a notable career as an educator. He taught at several institutions, including Black Mountain College and Hunter College. His influence on younger artists was significant.9. **Exhibitions and Recognition:** Motherwell's works were featured in numerous solo and group exhibitions throughout his career. He received several awards and honors for his contributions to modern art.10. **Legacy:** Robert Motherwell's impact on abstract expressionism and the broader art world is considered profound. His dedication to exploring the emotional and intellectual dimensions of art has left a lasting legacy.11. **Death:** Robert Motherwell passed away on July 16, 1991, in Provincetown, Massachusetts.Robert Motherwell's work is characterized by its intellectual depth, use of symbolism, and exploration of the human experience. His contributions to abstract expressionism continue to be studied and celebrated.Measures 18 x 24.Linen backed.
Mark Rothko (1903–1970) was a Russian-American abstract expressionist painter known for his large-scale, color-field paintings. Born Markus Yakovlevich Rothkowitz in Dvinsk, which is now in Latvia, Rothko and his family immigrated to the United States when he was a child. He later became a prominent figure in the New York School of painters.Rothko's mature style evolved into what is often referred to as "color field" painting. In this style, he created large canvases with expansive fields of color, often consisting of rectangles of subtle hues. These paintings were intended to evoke an emotional response from the viewer, and Rothko was interested in the transcendental and spiritual aspects of art.Some of Mark Rothko's well-known works include paintings like "No. 61 (Rust and Blue)," "White Center (Yellow, Pink and Lavender on Rose)," and "Untitled (Black on Grey)." His art is characterized by a contemplative and meditative quality, with the intention of creating a direct and profound connection with the viewer.Rothko's work has been influential in the development of abstract expressionism and the color field movement. His paintings are often associated with the search for deeper meaning and emotional resonance through the use of color and form. Mark Rothko's legacy endures as his art continues to be studied and appreciated worldwide.Measures 24.2 x 21.6.
Hans Namuth (1915–1990) was a German-born American photographer known for his iconic images of artists, particularly his famous series capturing Abstract Expressionist painter Jackson Pollock at work. Born on March 17, 1915, in Essen, Germany, Namuth fled the Nazi regime and later settled in the United States. In the 1950s, he began photographing prominent figures in the New York art scene, gaining access to artists such as Willem de Kooning, Mark Rothko, and Pollock. Namuth's most renowned work emerged from his collaboration with Pollock, producing striking black-and-white images that documented the artist's intense and dynamic painting process. The series, which included photos of Pollock dripping and pouring paint onto canvases, became iconic, capturing the energy and spontaneity of Abstract Expressionism. Namuth's contribution to the documentation of the artistic process has had a lasting impact on art history, providing a visual narrative of the creative act.Measures 10.25 x 13.Printed circa 1970s.
Mark Rothko (1903–1970) was a Russian-American abstract expressionist painter known for his large-scale, color-field paintings. Born Markus Yakovlevich Rothkowitz in Dvinsk, which is now in Latvia, Rothko and his family immigrated to the United States when he was a child. He later became a prominent figure in the New York School of painters.Rothko's mature style evolved into what is often referred to as "color field" painting. In this style, he created large canvases with expansive fields of color, often consisting of rectangles of subtle hues. These paintings were intended to evoke an emotional response from the viewer, and Rothko was interested in the transcendental and spiritual aspects of art.Some of Mark Rothko's well-known works include paintings like "No. 61 (Rust and Blue)," "White Center (Yellow, Pink and Lavender on Rose)," and "Untitled (Black on Grey)." His art is characterized by a contemplative and meditative quality, with the intention of creating a direct and profound connection with the viewer.Rothko's work has been influential in the development of abstract expressionism and the color field movement. His paintings are often associated with the search for deeper meaning and emotional resonance through the use of color and form. Mark Rothko's legacy endures as his art continues to be studied and appreciated worldwide.Measures 31.4 x 16.6.
Schifano, MarioHoms 1934 - 1998 Rom, Maler, Musiker und Filmproduzent, Vertreter der italienischen Postmoderne, während einer USA-Reise lernte er Andy Warhol und Mark Rothko kennen, Biennale-Teilnehmer in Venedig. "Früchtestillleben", auf grünem Grund, verso auf Leinwand sign., Öl/Leinwand, HxB: 30/40 cm. Altersspuren. Mit Rahmen.
Schifano, MarioHoms 1934 - 1998 Rom, Maler, Musiker und Filmproduzent, Vertreter der italienischen Postmoderne, während einer USA-Reise lernte er Andy Warhol und Mark Rothko kennen, Biennale-Teilnehmer in Venedig. "Fische (Aquario)", zwei Tierdarstellungen in Grau vor blauem Grund, unten rechts sign., verso auf Leinwand bez., Acryl/Leinwand, HxB: 82/60 cm. Altersspuren, fleckig. Mit Rahmen. Zertifikat der Galleria d'arte Traiano liegt bei.
Schifano, MarioHoms 1934 - 1998 Rom, Maler, Musiker und Filmproduzent, Vertreter der italienischen Postmoderne, während einer USA-Reise lernte er Andy Warhol und Mark Rothko kennen, Biennale-Teilnehmer in Venedig. "Fahrrad", Darstellungen in Weiß vor silbernem Grund, unten rechts sign., verso auf Leinwand bez., Keilrahmen mit Galeriestempel, Acryl/Leinwand, HxB: 80/60 cm. Mit Rahmen. Zertifikat der Galleria d'arte Traiano liegt bei.
ALFONSO OSSORIO (FILIPINO/AMERICAN 1916-1990) UNLIKELY CLUTCH Ink, wax, watercolour and wash Signed and dated 1954 (lower right) 102 x 76cm (40 x 29¾ in.) Provenance: Tower Gallery, Southampton, New York Betty Parsons, New York Private Collection, Robert Stigwood (1934-2016), music and film producer, whom purchased from the above circa. 1980s 'These works stand out for their vivid, saturated colors, distinctive formal characteristics, and pulsating energy.' Michael Rosenfeld Gallery, New York, Alfonso Ossorio Retrospective. Alfonso Ossorio was at the centre of the Abstract Expressionist and Art Brut movements which flourished during the 1950s. This passion for the arts and exploration of abstraction, alongside his close friends Jackson Pollock and Jean Dubuffet, was reflected in not only his own practice but also his collecting habits. Financially supported by his family, Ossorio established one of the earliest collections of Art Brut and Abstract Expressionism, helping to consolidate and promote the movements in America. Ossorio's family made their wealth through the sugar-refining industries in Negros Occidental in the Philippines. Ossorio was educated in England before relocating to Rhode Island at the age of 14. Ossorio studied Fine Art at Harvard University and held his first solo exhibition in New York with Betty Parsons in 1941. Ossorio's interest in art reached further than just practice, he was a keen collector and whilst studying at Harvard the Fogg Museum exhibited his early collection of works including pieces by Eric Gill and David Jones. Whilst exhibiting with Betty Parsons throughout the 40s, Ossorio became aware of Jackson Pollock's work, another artist Parsons was supporting and he was immediately drawn to his unique talent. Ossorio purchased his first Pollock 'drip' painting in 1949 titled Number 5, 1948. From this moment forward a strong friendship ensued between Ossorio and Pollock, both as artists but also as patron and artist. 'Europe no longer had anything to offer but a mixture of memories.' Harold Rosenberg, The De-Definition of Art (New York: Collier, 1972). P. 194 In November 1949, Pollock encouraged Ossorio to travel to Paris to meet with his friend Jean Dubuffet. At the time Dubuffet had experienced a great deal of criticism in Europe for his highly textured Art Brut works but his reputation was growing across the pond. Ossorio returned to New York with three new purchases Robinson, Figure au site Champetre and La dame au pompom and most importantly a new friendship which would continue in perpetuity. By 1951 Dubuffet was arguably the most famous French artist in America, possibly with the help of Ossorio. Together with Ossorio's lifelong partner, Ted Dragon, he purchased an estate on Long Island called The Creeks. The estate became synonymous with lavish parties attended by some of the most important artists of the 20th century Mark Rothko, Willem de Kooning and Lee Krasner. The Creeks, arguably helped to develop the strength of abstract expressionism in America. In 1952, Dubuffet's The Art Brut Collection which included 1200 works by approximately 100 artists was installed at Ossorio's estate. The collection hung on the upper floors of The Creeks alongside Ossorio's personal collection of works by Jackson Pollock, Clyfford Still, Lee Krasner and Willem de Kooning. In 1962 the collection returned to Paris to a purpose made space organised by Dubuffet and from 1976 the collection was moved to Lausanne in Switzerland in the Collection de l'Art Brut, where it remains today. Lot 161 represents Alfonso Ossorio's exploration of surrealism, characterised as "metaphysical fantasies," featured emotionally charged expressionistic brushstrokes. Influenced by his return to the Philippines in 1949, to carry out a mural commission for the chapel of St. Joseph the Worker in his hometown Victorias, he introduced the 'wax-resist' technique, inspired by Victor Brauner, giving rise to the Victorias Paintings series. This collection delved into the complexities of Catholicism, homosexuality, and racism. His early pieces depicted the emotional turmoil of a young homosexual male with a deeply rooted Catholic upbringing, set against the backdrop of World War II. These emotions were vividly portrayed through highly detailed surrealist designs. Additionally, Ossorio's art drew inspiration from psychoanalyst Nandor Fodor's writings on sexuality, birth, and motherhood. The present lot reflects the work of Jackson Pollock, most notably a piece titled Pattern c. 1945 held in the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.'These works stand out for their vivid, saturated colors, distinctive formal characteristics, and pulsating energy.' Michael Rosenfeld Gallery, New York, Alfonso Ossorio Retrospective. Arguably, Ossorio's collecting habits and socialite lifestyle have overshadowed his artistic capabilities. A turning point came in 2013 with the exhibition Angels,Demons and Savages: Pollock, Ossorio, Dubuffet curated by Dorothy Konsinski and Klauss Ottman at the Phillips Collection in Washington D.C. before travelling to New York. This exhibition placed Ossorio in the centre of Pollock and Dubuffet shining a light on the importance of his career as both an artist and collector. Condition Report: Executed on artist's board. Some very minor damage to the extreme tips of the lower corners, not visible when framed. Otherwise in very good original condition. Framed under glass. Condition Report Disclaimer
Selina Trieff, American 1934-2015 - Untitled, 1999; oil on card, signed and dated lower centre 'Trieff 99', 29.8 x 30.3 cm (unframed) Note:Trieff was a student of Ad Reinhardt and Mark Rothko at Brooklyn College and later was taught by Hans Hofmann at his schools in New York and Provincetown.
Hans Jörg Holubitschka, "Urbino", sign. Linolschnitt, gerahmtHans-Jörg Holubitschka,1960 Selters, Westerwald - 2016 Düsseldorf, deutscher Maler, Meisterschüler von Gerhard Richter an der Kunstakademie Düsseldorf, hier: "Urbino", abstrakte Landschaft aus Farbfeldern, Farbsiebdruck, 42 x 50 cm, bez. "Urbino", num. II/20, sign. u. dat. 1993Zum Künstler: Hans Jörg Holubitschka studierte von 1980 bis 1988 an der Kunstakademie Düsseldorf bei Gerhard Richter. Nach Ende seines Studiums widmete er sich der Landschaftsmalerei. Seine Bilder beziehen sich in ihrer farblichen Wirkung und Überspitzung auf die Maler des amerikanischen "Color Field Painting" wie Mark Rothko, Barnett Newman oder Clyfford Still. Während sich diese Maler im vollkommenen abstrakten Raum bewegten, wandelte Hans-Jörg Holubitschka figurative Elemente der Landschaft in abstrakte Farbfelder um.
Harold Ambellan, Frauenkopf & 3 Tänzer, Zeichnung & Zeichnung/Aquarell um 1960/70, beide gleich gerahmtHarold Ambellan, 1912 Buffalo/USA - 2006 Arles/Frankreich, amerikanisch-französischer Maler und Bildhauer, hier: Picasso-esker Frauenkopf und 3 Tänzer, Fettstift-Zeichnung, 38 x 30 cm, r. u. sign. // Fettstift-Zeichnung aquarelliert, 45 x 58 cm, l. u. sign., beide in gleichen weißen RahmenWährend seines Studiums der Bildhauerei und Bildenden Künste in Buffalo erhielt Harold Ambellan 1930 ein Stipendium der Art Student League. Er war auch einer der Künstler, die 1938 in der Gruppenausstellung „Subway Art“ im Museum of Modern Art vorgestellt wurden. Ambellan wurde 1941 zum Präsidenten der Sculptors Guild of America gewählt, im selben Jahr, in dem seine Arbeiten in Gruppenausstellungen sowohl im Metropolitan Museum of Art in New York als auch in der Academy of Fine Arts in Philadelphia ausgestellt wurden. Obwohl er mit den Künstlern Jackson Pollock, Willem de Kooning und Marc Rothko befreundet war blieb Ambellan sowohl in seiner Skulptur als auch in seiner Malerei dem Figurativen verpflichtet.1954 übersiedelte Ambellan nach Frankreich. Nachdem Ambellan mehrere Jahre in Montparnasse, einer der bedeutendsten Künstlergemeinden von Paris, gelebt hatte, beschloss er, sich in Antibes an der Côte d'Azur niederzulassen. 1980 zog er in die provenzalische Stadt Arles um, wo er bis zu seinem Lebensende lebte und arbeitete
ART REFERENCE: J Palaui I Fabre, Picasso (1917-26) in slip cover; Tim Walker, Story Teller; John Wilmerding, Andrew Wyeth and the Helga Pictures; Mark Rothko by The National Gallery of Washington; Peter Doig, No Foreign Lands; Albrecht Durer by Fichler; John Gage, JMW Turner - A Wonderful Range of Mind; Tony Cragg: Sculptures and Drawings by The National Galleries of Scotland; Paul Morrison; Tom Wolf, Yasuo Koniyoshi's Women; Art Since 1900 by Benjamin Buchloh (11)
Mark Rothko - (1903-1970) Exhibition Poster The Seagram Mural Project; Mark Rothko; Tate Gallery Liverpool; 28th May 1988-12th February 1989. Framed and glazed. Measures 79cm x 53cm. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
A QUANTITY OF DECORATIVE PRINTS ETC, to include a Mark Rothko poster print 'No10 - 1959', approximate size 109cm x 79cm, two unsigned oils on board depicting bar scenes, approximate sizes 60cm x 90cm, large Malcolm Sanders beach print, approximate size 100cm x 140cm including frame, four piece Banksy style box canvas print, together with other assorted prints etc
Henri Matisse (French, 1869-1954) Icarus Offset lithograph Limited edition of 2000 58cm x 48cm (23" x 18.75") Study for Dance III Poster for exhibition titled Painter and Sculptor at Dallas Museum of Art April 2007 43cm x 30cm (11" x 17") Mark Rothko (American, 1903-1970) Dusk Offset lithograph 38cm x 38cm (15" x 15") Presented unframed, unglazed and previously stored in roll.
Piet Mondrian (Dutch, 1872-1944) Composition B with Red - 1935 Copyright 2002 Mondrian/Holtzman Trust Copyright Tate Publishing 80 cm x 59 cm (31 1/2" x 23 3/8") Mark Rothko (American, 1903-1970) Brown, Blue, Brown on Blue - 1953 Original poster no 409 Copyright 1985 The Museum of Contemporary Art, LA, Third Edition 1988 The Panza Collection 110 cm x 77 cm (39 1/2" x 30 1/2")
Rupprecht Geiger 1908 München - 2009 München 446/66. 1966. Öl auf Leinwand. Verso signiert und datiert. Auf dem Keilrahmen betitelt. 82 x 90,5 cm (32,2 x 35,6 in). [JS]. • Rupprecht Geiger ist einer der bedeutendsten Vertreter der deutschen Farbfeldmalerei. • Fein durchmoduliertes, frühes Farbfeld, das durch sein sanftes Oszillieren roter Farbwerte begeistert. • Besonders frühes Beispiel für Geigers um 1965 einsetzende Verwendung der Spritzpistole. • Die leuchtenden Kompositionen des Frühwerkes gelten als Geigers gefragteste Arbeiten. • Geiger ist mit seinen berühmten Farbmodulationen von 1959 bis 1977 mehrfach auf der documenta vertreten. • Rote Farbfelder der 1960er Jahre befinden sich in bedeutenden Sammlungen, wie u. a. dem Städel Museum, Frankfurt a. Main, der Städtischen Galerie im Lenbachhaus, München, der Neuen Nationalgalerie, Berlin, und der Pinakothek der Moderne, München. PROVENIENZ: Galleria Peccolo, Livorno (auf dem Keilrahmen mit dem Etikett). Privatsammlung Norddeutschland. AUSSTELLUNG: Rupprecht Geiger, Kestner Gesellschaft, Hannover 1967, S. 61, Kat.-Nr. 42 (auf dem Keilrahmen mit dem Etikett). Rupprecht Geiger, Malerei - Graphitzeichnung, Städtische Kunsthalle, Düsseldorf 1967, S. 32, Kat.-Nr. 41 (o. Abb.). LITERATUR: Pia Dornacher/Julia Geiger, Rupprecht Geiger. Werkverzeichnis 1942-2002. Gemälde und Objekte, architekturbezogene Kunst, München 2003, WVZ-Nr. 429 (m. Abb.). 'Der Himmel ist von beispielloser Farbenpracht und von unglaublicher Weite. Die Möglichkeiten sind unbegrenzt', hatte Rupprecht Geiger bereits 1941 in seinem russischen Kriegstagebuch festgehalten (Rupprecht Geiger, zit. nach: Pinc kommt! Rupprecht Geiger, The Schaufler Foundation, Dresden 2017, S. 31). Es sind die sanften Farbmodulationen des Himmels, die Geiger reizen und die in der Nacht durch brennende Städte in eindrucksvolle Farbszenarien verwandelt werden, die für Geiger zu Gegenbildern der bedrückenden Realität des Krieges werden. Rot und Blau sind schließlich ab den 1950er Jahren die Farben, die das beeindruckende künstlerische Schaffen des deutschen Farbfeldmalers Rupprecht Geiger in entscheidender Weise prägen und bis Ende der 1950er Jahre zunächst noch in Kombination auftreten. Anfang der 1960er Jahre dann erfolgt schließlich eine klare Trennung beider Farbwerte. Während Rot als die Farbe des Blutes und des Feuers für extreme Energie und emotionale Aufgeladenheit steht, ist das kühlere Blau der rationalere, stärker in sich ruhende Farbwert. Das sich von oben scheinbar ins Format schiebende rote Rechteck hat Geiger durch den Einsatz von gespritzter Farbe sanft nach oben hin von einem satten Dunkelrot zu einem glühenden Orange hin durchmoduliert und vom strahlenden Weiß umfangen in eine geradezu schwebende Balance gebracht. Geiger beginnt um 1965 seinen bis dahin manuellen Farbauftrag durch den Auftrag mit der Spritzpistole abzulösen, der fortan feinere Farbmodulationen zulässt. Die vorliegende Arbeit ist ein besonders frühes Beispiel für die Anwendung dieser neuen Technik. Rupprecht Geiger hat nicht nur mit seinen Farbmodulationen, sondern auch mit seinen shaped canvases kunsthistorisch Bedeutendes geschaffen, das ihm innerhalb Deutschlands eine progressive Sonderstellung zuweist, die, wie von Helmut Friedel im Vorwort zum Werkverzeichnis nahegelegt, viel mehr den Vergleich mit seinen Zeitgenossen in Amerika, wie etwa Mark Rothko, Ellsworth Kelly und Barnett Newman, fordert. In den USA werden Geigers Gemälde bereits ab den 1950er Jahren in unterschiedlichen Ausstellungen gezeigt und 1959 wird der Künstler mit dem Solomon-Guggenheim-Preis, New York, ausgezeichnet. [JS] Aufrufzeit: 08.12.2023 - ca. 13.38 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONRupprecht Geiger 1908 München - 2009 München 446/66. 1966. Oil on canvas. Signed and dated on the reverse. Titled on the stretcher. 82 x 90.5 cm (32.2 x 35.6 in). [JS]. • Rupprecht Geiger is one of the most important representatives of German Color Field painting. • Finely modulated, early color field that impresses with its gentle oscillation of red hues. • A particularly early example of Geiger's use of the spray gun, which began around 1965. • The early luminous compositions are considered Geiger's most sought-after works. • Geiger's famous color modulations were exhibited several times at documenta between 1959 and 1977. • Red Color Fields from the 1960s can be found in important collections such as the Städel Museum, Frankfurt am Main, the Städtische Galerie im Lenbachhaus, Munich, the Neue Nationalgalerie, Berlin, and the Pinakothek der Moderne, Munich. PROVENANCE: Galleria Peccolo, Livorno (label on the stretcher. Private collection Northern Germany. EXHIBITION: Rupprecht Geiger, Kestner Gesellschaft, Hannover 1967, p. 61, cat. no. 42 label on the stretcher). Rupprecht Geiger, Malerei - Graphitzeichnung, Städtische Kunsthalle, Düsseldorf 1967, p. 32, cat. no. 41 (no. fig.). LITERATURE: Pia Dornacher/Julia Geiger, Rupprecht Geiger. Catalogue raisonné 1942-2002. Gemälde und Objekte, architekturbezogene Kunst, Munich 2003, no. 429 (fig.). 'The sky is unprecedentedly colorful and incredibly vast. The possibilities are unlimited', Rupprecht Geiger noted in his Russian war diary in 1941 (Rupprecht Geiger, quoted from: Pinc kommt! Rupprecht Geiger, The Schaufler Foundation, Dresden 2017, p. 31). It is the soft color modulations of the sky that appeal to Geiger and which are transformed at night by burning cities into impressive color scenarios that become counter-images to the oppressive reality of war for Geiger. From the 1950s onward, red and blue are the colors that decisively shape the impressive artistic work of the German color field painter Rupprecht Geiger and initially appeared in combination until the end of the 1950s. At the beginning of the 1960s, the two color values were finally clearly separated. While red, as the color of blood and fire, stands for extreme energy and emotional charge, the cooler blue is the more rational, more self-composed color. By using sprayed paint, Geiger gently modulated the red rectangle, which appears to push itself into the format from above, upwards from a rich dark red to a glowing orange and, surrounded by radiant white, has brought it into an almost floating balance. Around 1965, Geiger began to replace his hitherto manual application of paint with that of the spray gun, which henceforth allowed for finer color modulations. The present work is a particularly early example in this new technique. Rupprecht Geiger not only created art-historically significant works with his color modulations, but also with his shaped canvases, which earned him a special progressive position within German post-war art, as Helmut Friedel suggested in the foreword to the catalogue raisonné, demanding stronger comparison with American contemporaries like Mark Rothko, Ellsworth Kelly and Barnett Newman. In the USA, Geiger's paintings were shown in various exhibitions from the 1950s onward and the artist was awarded the Solomon Guggenheim Prize in New York in 1959 . [JS] Called up: December 8, 2023 - ca. 13.38 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.
*ALAN DAVIE (1920-2014) 'Les Grands Musicians Initiatiges No.1, 2006' signed, titled and dated verso, oil on canvas, 91.4cm x 76.2cmProvenance: With Gimpel Fils, 30 Davies Street, Mayfair, London W1K.Alan DavieIn the 1950's Alan Davie was recognised internationally as a new radical force in modern painting and was hailed by art critic Alan Bowness as, alongside Francis Bacon, one of the most influential artist of his time. He was an artist who created his own unique style, thoroughly spontaneous, and on drawing from a number of different interests, including his own experiences of primitive art, Abstract Expressionism, Surrealism and Zen Buddhism. However, despite his diverse influences, a Davie painting could never be mistaken for anyone else's work.Alan Davie first trained as a painter at Edinburgh College of Art where he also took up jazz music, and earned money as a musician, poet and jeweller. After his marriage in 1947 to fellow art student Janet Gaul, he travelled widely in Europe and for the first time was exposed to Italian masterpieces such as Cimabue and Giotto in Florence, before meeting Peggy Guggenheim in Venice who introduced him to Pollock's early work. Her recognition and later patronage of his work propelled him onto the international arena. When Davie returned to England he was taken on by the London gallery Gimpel Fils, where he had his first solo exhibition and from then on had the support of both the gallery and the Gimpel family. Initially however, it was in America where he experienced the greatest success; at his first New York exhibition, every painting sold mostly to major institutions and in 1956, when he first visited New York, the city's major artists of the day turned out to meet him, including Pollock and Rothko. In 1957 he showed work at the Museum of Modern Art in Paris and at the Guggenheim in New York. In 1958 he was part of the Critic's Choice Exhibition selected by David Sylvester and in the same year he represented Britain at the Venice Biennale.Alan Davie's work has been widely exhibited and is included in numerous international public and private collections, including the Tate Britain, the Arts Council of Great Britain, the Victoria & Albert Museum, the Foundation Maeght and the Museum of Modern Art, New York. His exuberant and expressive paintings posses a unique force that can be associated with the New York School and also the St Ives School, yet he also stood alone from these groups. He borrowed freely from all cultures and it is the combination of these experiences, together with his freedom of expression that gives Davie his unique style.
COLLECTIF D'ARTISTESRothko Memorial Portfolio, 1973 Portfolio comprenant un ensemble de 13 oeuvres en couleurs, sur différents papiers (trois sérigraphies, six lithographies, trois eaux fortes et un bois gravé)Toutes sont signées, datées et numérotées 1/75 au crayonEditée par The Mark Rothko Memorial Trust, LondresPrésenté dans son portfolio d'origine94 x 73 cmThe portfolio comprising 13 prints in colours, on various papers (three screenprints, six lithographs, three etchings, and one woodcut), with title, text, table of contents and justification, each signed, dated and numbered 1/75 in pencil Footnotes:Artistes inclus dans portfolio: Patrick Caulfield (C. 31), Merlyn Evans, Adrian Heath, Patrick Heron, John Hoyland, Paul Huxley, John Hubbard, Allen Jones (L. 67), Henry Moore (C. 169), Victor Pasmore, Bridget Riley (S. 19), William Scott, and Richard Smith.For further information on this lot please visit Bonhams.com
Harold Shapinsky (1925 Brooklyn/New York - 2004 Rockville/Maryland) Untitled (Ohne Titel)Der Künstler gehört zu den wiederentdeckten amerikanischen Malern des Abstrakten Expressionismus. Shapinsky, ein Zeitgenosse von Robert Motherwell, Willem de Kooning, Jackson Pollock und Mark Rothko, lernte an der von Motherwell und Rothko gegründeten, 1948/49 bestehenden Kunstschule "Subject of the Artist" in New York. 1950 wurden Werke Shapinskis durch Vermittlung Motherwells in eine Ausstellung für neue Talente in der Kootz Gallery aufgenommen. Trotz des hoffnungsvollen Anfangs gelang Shapinsky jahrzehntelang kein weiterer Erfolg und er malte in Verborgenheit in seiner winzigen Wohnung in Manhattan. Dort konnte er nur an Papiergemälden in bescheidenem Format arbeiten, im Unterschied zu großformatigen Leinwänden, mit denen man den Abstrakten Expressionismus in Verbindung brachte. Erst durch die Zufallsentdeckung des indischen Englischprofessors Akumal Ramachander und dessen engagierte Initiative erhielt Shapinsky 1985 eine erste, große Retrospektiv-Ausstellung in der renommierten Mayor Gallery in London und späten Ruhm, sogar die Tate Gallery erwarb als erstes Museum ein Gemälde. Öl/Papier, auf Lwd. kaschiert. R. u. sign.; 29 cm x 30,5 cm. Rahmen.Oil on paper, laid down on paper. Signed.
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