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Click here to subscribeCollageIngeborg Schäffler-Wolf 1928 Heilbronn - 2015 Heilbronn "Entwurf für die Aussegnungshalle Pragfriedhof Stuttgart" 1982 Seide über Beton, 72 x 42 x 6 cm Provenienz: Aus dem Nachlass der Künstlerin. Lit.: Ingeborg Schäffler-Wolf "Ein verwirktes Leben Bd.1+2" Ktlg. Städtische Museen Heilbronn 2008; Abb. Bd. I, S.14
*ROBYN DENNY (1930-2014) 'Mirrors', The complete portfolio of six screenprints in colours with collage, 1974, on coloured wove paper, each signed, dated and numbered AP IX/XV,, artist's proof screenprints outside of the edition of 40, published by Bernard Jacobson Gallery, London, each sheet 64cm x 46cm (unframed) (6)
λ  SIR EDUARDO PAOLOZZI (BRITISH 1924-2005) RUST AND HUMOUR Collage Signed (lower right) Image: 20 x 16cm (7¾ x 6¼ in.) Executed in 1960.Provenance:Freda Paolozzi and by descent Literature:E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 75 (illus) Created in 1962 the History of Nothing is a twelve minute film of changing sepia and black and white stills put to an equally seemingly random soundtrack of locomotives, aircraft, barking dogs, church bells and Kabuki theatre. It is fundamentally a `Surrealist collage in time'`The materials from which Paolozzi made these collages... were collected over ten years. At their basis is the idea that in the relationships of such diverse subjects and materials there are always poetic possibilities. The sources of the collages are pages from the 1920s and 1930s German furniture catalogues, travel magazines, exhibition catalogues of ethnic art, and manuals of machinery.' (E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 10) "I am interested above all, in investigating the golden ability of the artists to achieve a metamorphosis of quite ordinary things into something wonderful and extraordinary that is neither nonsensical nor morally edifying" (E. Roditi, Eduardo Paolozzi, Dialogues on Art, London, 1960, pp.153-54) Condition Report: There are some possible minor areas of glue residue surrounding the lower edge of the collage. Otherwise there are no significant condition issues. The work appears to be in good original condition. Condition Report Disclaimer
λ GRAHAM SUTHERLAND (BRITISH 1903-1980) STUDY FOR SPRAWLING TREE TRUNK Watercolour, ink, pencil and collage Signed (upper right);titled and dated 1937 (to upper left edge) 20.1 x 15.3cm (7¾ x 6 in.)Provenance: Private Collection, Herbert Spencer (a gift from the artist) Thence by descentLiterature: D. Cooper, The Work of Graham Sutherland, London, 1961, no.12a (illustrated) Condition Report: Stuck down to mounting card at three corners. Light surface dirt throughout. Condition Report Disclaimer
λ  SIR EDUARDO PAOLOZZI (BRITISH 1924-2005) FOGGIA Collage Signed (lower right) 19 x 14cm (7¼ x 5½ in.)Provenance:Freda Paolozzi and by descent Literature:E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 70 (illus) Created in 1962 the History of Nothing is a twelve minute film of changing sepia and black and white stills put to an equally seemingly random soundtrack of locomotives, aircraft, barking dogs, church bells and Kabuki theatre. It is fundamentally a `Surrealist collage in time'`The materials from which Paolozzi made these collages... were collected over ten years. At their basis is the idea that in the relationships of such diverse subjects and materials there are always poetic possibilities. The sources of the collages are pages from the 1920s and 1930s German furniture catalogues, travel magazines, exhibition catalogues of ethnic art, and manuals of machinery.' (E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 10) "I am interested above all, in investigating the golden ability of the artists to achieve a metamorphosis of quite ordinary things into something wonderful and extraordinary that is neither nonsensical nor morally edifying" (E. Roditi, Eduardo Paolozzi, Dialogues on Art, London, 1960, pp.153-54) Condition Report: Evidence of minor glue residue to the edges of the collage. Otherwise appears to be in original condition. Condition Report Disclaimer
λ  SIR EDUARDO PAOLOZZI (BRITISH 1924-2005) HARP (COLLECTION OF G.A. REISNER) Collage Signed (lower right) Image: 15.2 x 12.7cm (5 x 5 in.)Provenance:Freda Paolozzi and by descent Literature:E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 57 (illus) Created in 1962 the History of Nothing is a twelve minute film of changing sepia and black and white stills put to an equally seemingly random soundtrack of locomotives, aircraft, barking dogs, church bells and Kabuki theatre. It is fundamentally a `Surrealist collage in time'`The materials from which Paolozzi made these collages... were collected over ten years. At their basis is the idea that in the relationships of such diverse subjects and materials there are always poetic possibilities. The sources of the collages are pages from the 1920s and 1930s German furniture catalogues, travel magazines, exhibition catalogues of ethnic art, and manuals of machinery.' (E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 10) "I am interested above all, in investigating the golden ability of the artists to achieve a metamorphosis of quite ordinary things into something wonderful and extraordinary that is neither nonsensical nor morally edifying" (E. Roditi, Eduardo Paolozzi, Dialogues on Art, London, 1960, pp.153-54) Condition Report: Glue residue causing some staining scattered across the sheet. Otherwise in original condition. Condition Report Disclaimer
λ  SIR EDUARDO PAOLOZZI (BRITISH 1924-2005) OTTO MASCHENFABRIK Collage Signed (lower right) 12 x 14.5cm (4½ x 5½ in.)Provenance:Freda Paolozzi and by descent Literature:E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 59 (illus) Created in 1962 the History of Nothing is a twelve minute film of changing sepia and black and white stills put to an equally seemingly random soundtrack of locomotives, aircraft, barking dogs, church bells and Kabuki theatre. It is fundamentally a `Surrealist collage in time'`The materials from which Paolozzi made these collages... were collected over ten years. At their basis is the idea that in the relationships of such diverse subjects and materials there are always poetic possibilities. The sources of the collages are pages from the 1920s and 1930s German furniture catalogues, travel magazines, exhibition catalogues of ethnic art, and manuals of machinery.' (E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 10) "I am interested above all, in investigating the golden ability of the artists to achieve a metamorphosis of quite ordinary things into something wonderful and extraordinary that is neither nonsensical nor morally edifying" (E. Roditi, Eduardo Paolozzi, Dialogues on Art, London, 1960, pp.153-54) Condition Report: Very slight discolouration caused by glue residue to the edges of the collage. Otherwise appears to be in good original condition. Condition Report Disclaimer
λ  SIR EDUARDO PAOLOZZI (BRITISH 1924-2005) TABLE OF CHARYBDIS Collage Signed (lower right) 16 x 13.5cm (6¼ x 5¼ in.)Provenance:Freda Paolozzi and by descent Literature:E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 55 (illus) Created in 1962 the History of Nothing is a twelve minute film of changing sepia and black and white stills put to an equally seemingly random soundtrack of locomotives, aircraft, barking dogs, church bells and Kabuki theatre. It is fundamentally a `Surrealist collage in time'`The materials from which Paolozzi made these collages... were collected over ten years. At their basis is the idea that in the relationships of such diverse subjects and materials there are always poetic possibilities. The sources of the collages are pages from the 1920s and 1930s German furniture catalogues, travel magazines, exhibition catalogues of ethnic art, and manuals of machinery.' (E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 10) "I am interested above all, in investigating the golden ability of the artists to achieve a metamorphosis of quite ordinary things into something wonderful and extraordinary that is neither nonsensical nor morally edifying" (E. Roditi, Eduardo Paolozzi, Dialogues on Art, London, 1960, pp.153-54) Condition Report: A very minor surface scratch to the lower right corner. Otherwise appears to be in good original condition. Condition Report Disclaimer
λ GRAHAM SUTHERLAND (BRITISH 1903-1980) STUDIES FOR 'RED MONOLITH' 1937 Ink, watercolour, gouache, pencil and collage Signed, titled Red monolith and dated 38 (to upper edge); further inscribed with colour notes (upper right); titled vase like tree form and dated 37/8 (lower right) 20.3 x 15.3cm (7 x 6 in.) There is a sketch executed in coloured crayons to the reverse of the sheet. Provenance: Private Collection, Herbert Spencer (a gift from the artist) Thence by descentLiterature:D. Cooper, The Work of Graham Sutherland, London, 1961, no.12b (illustrated) Condition Report: The sheet is stuck down at the four corners. Surface dirt throughout. Condition Report Disclaimer
λ SIR EDUARDO PAOLOZZI (BRITISH 1924-2005) WELCOME PROFESSOR RUHRBERG Collage Signed (lower right) Image: 21.5 x 15.5cm (8¼ x 6 in.) Executed in 1960.Provenance:Freda Paolozzi and by descent Literature:E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 71 (illus) Created in 1962 the History of Nothing is a twelve minute film of changing sepia and black and white stills put to an equally seemingly random soundtrack of locomotives, aircraft, barking dogs, church bells and Kabuki theatre. It is fundamentally a `Surrealist collage in time'`The materials from which Paolozzi made these collages... were collected over ten years. At their basis is the idea that in the relationships of such diverse subjects and materials there are always poetic possibilities. The sources of the collages are pages from the 1920s and 1930s German furniture catalogues, travel magazines, exhibition catalogues of ethnic art, and manuals of machinery.' (E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 10) "I am interested above all, in investigating the golden ability of the artists to achieve a metamorphosis of quite ordinary things into something wonderful and extraordinary that is neither nonsensical nor morally edifying" (E. Roditi, Eduardo Paolozzi, Dialogues on Art, London, 1960, pp.153-54)
λ  SIR EDUARDO PAOLOZZI (BRITISH 1924-2005) RACHEL'S TOMB, NEAR BETHLEHEM, PALESTINE Collage Signed (lower right) Image: 20.2 x 25cm (7¾ x 9¾ in.)Created in 1962 the History of Nothing is a twelve minute film of changing sepia and black and white stills put to an equally seemingly random soundtrack of locomotives, aircraft, barking dogs, church bells and Kabuki theatre. It is fundamentally a `Surrealist collage in time'`The materials from which Paolozzi made these collages... were collected over ten years. At their basis is the idea that in the relationships of such diverse subjects and materials there are always poetic possibilities. The sources of the collages are pages from the 1920s and 1930s German furniture catalogues, travel magazines, exhibition catalogues of ethnic art, and manuals of machinery.' (E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 10) "I am interested above all, in investigating the golden ability of the artists to achieve a metamorphosis of quite ordinary things into something wonderful and extraordinary that is neither nonsensical nor morally edifying" (E. Roditi, Eduardo Paolozzi, Dialogues on Art, London, 1960, pp.153-54) Condition Report: Very undulation to the sheet. Two small spots of staining. One to the centre of the sheet the other to the strings of the parachute. Otherwise appears to be in good original condition.Condition Report Disclaimer
λ  SIR EDUARDO PAOLOZZI (BRITISH 1924-2005) SPIRIT OF THE MOTHERLAND Collage Signed (lower right) 22 x 13cm (8½ x 5 in.)Provenance:Freda Paolozzi and by descent Literature:E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 25 (illus) Created in 1962 the History of Nothing is a twelve minute film of changing sepia and black and white stills put to an equally seemingly random soundtrack of locomotives, aircraft, barking dogs, church bells and Kabuki theatre. It is fundamentally a `Surrealist collage in time'`The materials from which Paolozzi made these collages... were collected over ten years. At their basis is the idea that in the relationships of such diverse subjects and materials there are always poetic possibilities. The sources of the collages are pages from the 1920s and 1930s German furniture catalogues, travel magazines, exhibition catalogues of ethnic art, and manuals of machinery.' (E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 10) "I am interested above all, in investigating the golden ability of the artists to achieve a metamorphosis of quite ordinary things into something wonderful and extraordinary that is neither nonsensical nor morally edifying" (E. Roditi, Eduardo Paolozzi, Dialogues on Art, London, 1960, pp.153-54) Condition Report: Some scattered area of staining, most likely caused by glue residue around the edges of the collage. Otherwise in good original condition. Condition Report Disclaimer
λ  SIR EDUARDO PAOLOZZI (BRITISH 1924-2005) LAKE INNOCENCE Collage Signed (lower right) Image 17 x 22.5cm (6½ x 8¾ in.)Provenance:Freda Paolozzi and by descent Literature:E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 89 (illus). Condition Report: There is evidence of glue residue and associated staining around the edges of the collage. Work appears to be in original condition. Condition Report Disclaimer
λ  SIR EDUARDO PAOLOZZI (BRITISH 1924-2005) BEDROOM WITH PORTRAIT Collage Signed (lower right) Image 17.8 x 16cm (7 x 6¼ in.) Provenance: Freda Paolozzi and by descentLiterature:E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 47 (illus) Created in 1962 the History of Nothing is a twelve minute film of changing sepia and black and white stills put to an equally seemingly random soundtrack of locomotives, aircraft, barking dogs, church bells and Kabuki theatre. It is fundamentally a `Surrealist collage in time'`The materials from which Paolozzi made these collages... were collected over ten years. At their basis is the idea that in the relationships of such diverse subjects and materials there are always poetic possibilities. The sources of the collages are pages from the 1920s and 1930s German furniture catalogues, travel magazines, exhibition catalogues of ethnic art, and manuals of machinery.' (E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 10) "I am interested above all, in investigating the golden ability of the artists to achieve a metamorphosis of quite ordinary things into something wonderful and extraordinary that is neither nonsensical nor morally edifying" (E. Roditi, Eduardo Paolozzi, Dialogues on Art, London, 1960, pp.153-54) Condition Report: Some light discolouration to the centre of the cupboard door. The artist appears to have changed their mind during the execution of the work and there is evidence of glue residue and minor areas of loss to both left and right sides of the work. This is evident in the original History of Nothing series. The work appears in original condition. Condition Report Disclaimer
λ MERLIN JAMES (BRITISH B. 1960) OVAL Oil and collage on canvas Signed, titled and dated 2001 (verso) 86.5 x 71.5cm (34 x 28 in.)Provenance: Richard Salmon Gallery, London Condition Report: Apart from some minor surface dirt, this work is in good original condition.Condition Report Disclaimer
λ  SIR EDUARDO PAOLOZZI (BRITISH 1924-2005) UNTITLED, HISTORY OF NOTHING Collage Signed (lower right) Image: 21.5 x 16cm (8¼ x 6¼ in.) Executed in 1960.Provenance: Freda Paolozzi and by descentLiterature: J. Drew, Photographer as Printmaker: 140 Years of Photographic Printmaking, London, 1981 M. Middleton, Eduardo Paolozzi, London, 1963, illustrated (page unnumbered) Created in 1962 the History of Nothing is a twelve minute film of changing sepia and black and white stills put to an equally seemingly random soundtrack of locomotives, aircraft, barking dogs, church bells and Kabuki theatre. It is fundamentally a `Surrealist collage in time'`The materials from which Paolozzi made these collages... were collected over ten years. At their basis is the idea that in the relationships of such diverse subjects and materials there are always poetic possibilities. The sources of the collages are pages from the 1920s and 1930s German furniture catalogues, travel magazines, exhibition catalogues of ethnic art, and manuals of machinery.' (E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 10) "I am interested above all, in investigating the golden ability of the artists to achieve a metamorphosis of quite ordinary things into something wonderful and extraordinary that is neither nonsensical nor morally edifying" (E. Roditi, Eduardo Paolozzi, Dialogues on Art, London, 1960, pp.153-54) Condition Report: A crease with associated surface skinning to the lower right corner to the artist's signature. And a further minor area of surface skinning to the left side of the upper edge. Otherwise in original condition. Condition Report Disclaimer
λ  SIR EDUARDO PAOLOZZI (BRITISH 1924-2005) THE CITADEL, CAIRO, EGYPT Collage Signed (lower right) 20 x 25.5cm (7¾ x 10 in.) Executed in 1960. Provenance: Freda Paolozzi and by descent. Exhibited:London, Anthony D'Offay, Eduardo Paolozzi, Collages and Drawings, 23 March - 22 April 1977. Literature:E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 99 (illus) Created in 1962 the History of Nothing is a twelve minute film of changing sepia and black and white stills put to an equally seemingly random soundtrack of locomotives, aircraft, barking dogs, church bells and Kabuki theatre. It is fundamentally a `Surrealist collage in time'`The materials from which Paolozzi made these collages... were collected over ten years. At their basis is the idea that in the relationships of such diverse subjects and materials there are always poetic possibilities. The sources of the collages are pages from the 1920s and 1930s German furniture catalogues, travel magazines, exhibition catalogues of ethnic art, and manuals of machinery.' (E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 10) "I am interested above all, in investigating the golden ability of the artists to achieve a metamorphosis of quite ordinary things into something wonderful and extraordinary that is neither nonsensical nor morally edifying" (E. Roditi, Eduardo Paolozzi, Dialogues on Art, London, 1960, pp.153-54) Condition Report: Slight undulation to the sheet, possibly handling creases. Otherwise work appears to be in good original condition with no significant issues. Condition Report Disclaimer
Original color lithograph poster for the May Opening of the National Collection of Fine Art Smithsonian that American Postwar & Contemporary artist Larry Rivers made as a collage. On lower left edge: Atelier Mourlot 1968. Artist: Larry Rivers (American 1923-2002)Issued: 1968Dimensions: 23"L x 30"HCountry of Origin: United StatesCondition: Age related wear.
Ornithological bird prints to include a collage of various of birds of prey after Joel Kirk, American goshawk, falcon, buzzard, sparrowhawk, peregrine falcon, 40cm x 53.5cm, limited edition print of a goshawk, 11/250, another of a peregrine falcon after David Andrews, also a woodcock and a ptarmigan. (5)
-- Ein grafisches Geschenk für Christa Wolf-- Ein Blatt für C. W. Grafik-Mappe, hrsg. zum 65. Geburtstag von Christa Wolf. 19 sign. Original-Graphiken. jeweils einzeln in Papierumschlag. 60 x 57 cm. Lose in OHalebleinen-Flügelmappe. (Berlin, Janus press, 1994). Eines von 50 römisch nummerierten Exemplaren (Gesamtauflage: 90 Ex.). - Enthält Graphiken von Manfred Butzmann (Radierung), Carlfriedrich Claus (farb. Radierung), Wieland Förster (Radierung), Dieter Goltzsche (Siebdruck), Günter Grass (Lithographie), Hartwig Hamer (Radierung), Angela Hampel (Algraphie), Hil de Gard (farbiger Siebdruck), Martin Hoffmann (Algraphie in vier Tönen), Alfred Hrdlicka (Radierung), Horst Hussel (Radierung), Joachim John (Kaltnadelradierung), Helge Leiberg (zweifarb. Lithographie), Franz Mon (Offsetdruck nach Collage), Nuria Quevedo (Radierung), Anneliese Schöfbeck (Radierung), Helga Schröder (farb. Radierung), Klaus Sobolewski (Radierung) und Karla Woisnitza (zweifarbige Lithographie), alle signiert. - Tadelloses Exemplar.
Hussel, Horst. (Herzbube). Gouache und Collage, Teile einer Spielkarte eines Herzbuben auf dünnem Velin, unten rechts in Bleistift signiert und datiert. 29,5 x 42,5 cm. Unter Passepartout 50 x 60,5 cm. 2007. Ein Spiel aus Kreisen, Linien, Rastern und Flächen in gesättigten Farben, das eine vibrierende Leuchtkraft und Lebendigkeit ausstrahlt. Vorherrschend sind Rot und Schwarz, ergänzt durch ein helles Blau, grelles monochromes Gelb und Grün in der Farbpalette. Die applizierten Segmentteile eines Herzbubens in rotem Kostüm mit Goldelementen verleihen der Darstellung eine nahezu surreale Dimension. - In sehr gutem Zustand.
-- Dilettanten erhebt euch!-- Die Schammade. (Dilettanten erhebt euch). Herausgegeben von Johannes Theodor Baargeld (d.i. Alfr. Ferd. Gruenwald) und Max Ernst. (Heft I, alles Erschienene). 16 Bl. (davon die inneren 8 Bl. auf zwei verschiedenen geringeren Papieren gedruckt). Mit 14 Abbildungen und Illustrationen (7 montiert, 3 ganzseitig) nach Max Ernst (u. a. Titelillustration), Arp, Baargeld, Angelika und Heinrich Hoerle und Francis Picabia sowie Textbeiträgen von L. Aragon, Arp, M. Ernst, Baargeld, A. Breton, P. Eluard, H. Hoerle, R. Huelsenbeck, Picabia, G. Ribemont-Dessaignes, W. Serner, Ph. Soupault und T. Tzara. 32,5 x 25 cm (Umschlag) bzw. 29,6 x 23 cm (Heftblock). Illustrierter OUmschlag (minimal fleckig und berieben, im Rand schwach gebräunt) aus strukturgeprägtem Karton mit Orig.-Holzschnitt und montierter Collage "Dadameter" von Hans Arp. Köln, Schloemilch, (1920).Raabe 93. Dietzel-Hügel 2613 (bezeichnet die inneren 8 Blätter als Beilage der Zeitschrift; ohne Standortnachweis des Originals). Verkauf, Dada, S. 182. Arnz, Arp, 84a. - Einziges Heft, nach dem im Jahr zuvor erschienenen "Bulletin D" die wichtigste dadaistische Zeitschrift der Kölner Gruppe, erschien unter reger Beteiligung der Pariser Dadaisten. Dem Verlag diente als Adresse die Bachemer Str. 243 in Köln-Lindenthal, in der das Ehepaar Angelika und Heinrich Hoerle ihre Wohnung hatten, die zu einem zentralen Treffpunkt der 1919 begründeten Kölner "Dada-Zentrale W/3" um Max Ernst, Johannes Th. Baargeld und Hans Arp wurde. Kurz nach Erscheinen der Schammade fand im April 1920 deren legendäre Gruppenausstellung "Dada-Vorfrühling" im Kölner Brauhaus Winter statt. Die Ausstellung im Hinterhof war nur durch die Herrentoilette zu betreten. Ein kleines Mädchen im Kommunionkleid rezitierte obszöne Gedichte, die Gäste wurden aufgefordert, ein Kunstwerk von Max Ernst mit einer Axt zu zertrümmern. Die Ausstellung sorgte für einen Skandal und wurde von der Polizei geschlossen. Bei einem beanstandeten "nackten Paar" handelte es sich jedoch um den Stich "Adam und Eva" von Dürer; auch der Vorwurf, es werde Geld für die Betrachtung von Kunstwerken genommen, aber keine Kunst gezeigt, ließ sich nicht halten. Nach dieser publicityträchtigen Veranstaltung zerstreute sich die Kölner Dada-Gruppe. Der Originalholzschnitt von Hans Arp auf dem Umschlag fand bereits Ende 1918, im Hochformat gedruckt, als Beilage zur Luxus-Ausgabe von Tzaras "Dada 3" Verwendung. Hier wird er ergänzt durch einen hochrechteckigen collagierten Text mit dem Titel "Dadameter", der u.a. den Titel der Zeitschrift und die beteiligten Autoren und Künstler in goldenen Lettern auf schwarzem Grund auflistet. - Ausgesprochen schönes und frisches Exemplar mit intakter Klammerheftung und ohne jegliche Papierläsuren. - Von großer Seltenheit.
Schwarz, Linda. Tintenfrass Suite III - Suiten für Violoncello Solo von J. S. Bach. Fotolithographie, Collagraph und Collage auf Sekischu-Japanpapier, unten in Bleistift signiert und bezeichnet "TT-Variationen III". 59 x 39 cm. Unter Glas in Holzleiste. 74 x 52 cm. 2000.Eines von 30 Unikat-Exemplaren. Die großformatige Arbeit erscheint zunächst als geometrische Abstraktion, entpuppt sich jedoch bei näherer Betrachtung als eine chiffrierte Interpretation einer Bach-Suite, deren musikalische Struktur in eine raffinierte, gegenwärtige Bildsprache überführt wurde.Im Zuge ihrer Leidenschaft für die Druckgraphik entwickelte Linda Schwarz (geb. 1963) komplexe neue Drucktechniken, wie in der vorliegenden Arbeit. Linda Schwarz studierte zunächst in Stuttgart, dann in Berlin Bildhauerei, Freie Kunst und Musikwissenschaften. In Berlin war sie Studentin bei Joachim Schmettau, Isa Genzken, Eva-Maria Schön und Christina Kubisch. Anschließend ging sie nach Minnesota/Minneapolis, wo sie sich auf Druckgraphik konzentrierte und Assistentin von Karl Bethke wurde. Sie war zudem als Mitarbeiterin der Universal Limited Art Editions tätig und kam dadurch in Kontakt mit Robert Rauschenberg und Jasper Johns. Ihre Arbeiten sind in zahlreichen internationalen Sammlungen und Museen vertreten, wie beispielsweise im Kupferstichkabinett der Staatlichen Museen zu Berlin und dem Museum of Fine Arts in Boston. - Einwandfrei (nicht ausgerahmt). Versand nur ohne Rahmen.
Y Adam Koukoudakis (British b. 1976)Cheeky Fuckin Pigz, 2008Spray paint on canvasSigned and dated to the side and titled the verso Adam is a father, painter, illustrator and collagist who studied Fine Art at Chelsea and Berlin Institutes of Art before graduating with BA (Hons) Fine Art from Central Saint Martins in 2006. In the same year he was invited to participate in his first post - graduate show with Banksy at Greek Street's infamous Lazarides Gallery, at a time when it was inspiring a broader movement of artists whose work blurred the lines between fine art, street art, illustration and graphics. In 2007 he accepted a further invitation to participate in Santa’s Ghetto in Bethlehem, before embarking on a busy International circuit of shows, projects, collaborations and private commissions which kept him out of trouble until 2010, when he took a short hiatus to enjoy the rewards of fatherhood.Always a painter and lover of collage, Adam found a way to combine the two through his early exposure to screen printing by hijacking the pulling of ink & screen, and instead projecting his screens onto canvas and painstakingly hand painting every ben-day himself. His paintings and prints have always depicted subjects and topics close to his heart, from early political angst to the unapologetic love of his family.Measures approx. 40cm x 50cm (15" x 19")
Y After Tom Eckersley (British, 1914–1997)Zebra Profile Collage - Exhibition of Graphics - Graphic Design Department - Maidstone College of Art 1984Offset Lithograph Framed and glazedEckersley was a leading graphic designer who worked in Britain in the twentieth century. His signature style combined bold, bright colours and flat graphic shapes. Born in Lancashire in 1914, he studied at Salford Art School in Manchester before moving to London in 1934. An influential figure in modern graphic design, Eckersley’s long career began in the 1930s and continued through to the 1990s. Measures approx. 62cm x 42cm (24.5" x 16.5") framed
A large red, black and white poster given exclusively to Apple staff for Christmas of 1970. It features a black and white photo collage of Apple staff and a Christmas story at the bottom, all on a red and black background. The poster measures 91.5cm x 61cm (36 inches x 24 inches). It has been machine folded leaving horizontal and vertical crease lines. The poster has some wear along some of the crease lines and some light tearing along the left edge. The condition is very good.
Sandra Blow RA (1925-2006) "Four Notes" (2005) Signed and dated verso, acrylic and collage, 122cm by 122cm "Four Notes" is depicted in the iconic 2005 photograph of Sandra Blow in her Studio by Eamonn McCabe, this piece is housed in the National Portrait Gallery, NPG x131764 Slight scuffing to the top left corner. The red and blue strips of collage to the outer edges and the four central ones are quite rustic. Each have pin holes, the odd crease/ scuff and tear by design? See images. There are also pin holes to the central sections of the picture within the red shapes. There is scratch approximately 3cm to the centre of the red left hand side edge. Two black marks to the red top centre and a tear approx 3cm to the lower right of this section. A few nicks to the red collage left of centre and to the centre of the red right edge. Glazed. Not examined out of the frame. The signature is to the reverse, obscured by the frame. See additional images.
Love Field (1992), Original mixed media (Hand Painted & Collage) artwork by Vic Fair, 27 x 20.5 inches, flat, on polyboard, including letter of provenance from MEM Director Jonathan Kapla Stars Michelle Pfeiffer, Dennis Haysbert Condition Report: Very good condition, masking tap around edges, original title stuck to back
Doris Irene Halliwell (1908-1988) – Embroidered Collage on Fabric – "Richmond" - with Elizabeth I, Henry VIII and his wives by the Thames, 16.5ins x 32ins, signed, “Slumber”, unsigned, 17ins x 24ins, “Cherub”, signed, 20ins x 23ins, “Edward VIII”, unsigned, 18.5ins x 15ins, “Surreal Collage”, 14ins x 10ins, circa 1950’s
***Caroline McNairn (1955-2010) - Mixed media - "Collage - Cityscape II", Contemporary Scottish Painting Gallery exhibition sticker to verso, 18.5ins x 20.5ins, in silvered frame and glazedThis work has not been inspected out of its frame. The upper edge and lower left corner are torn but this is possibly the original intention of the artist. There is a circa 1.25ins tear to the upper edge close to the upper right corner, otherwise the work appears to be in good condition with no obvious damage/loss/restoration. The card (?) on which this is mounted is discoloured and shows some light scattered foxing, particularly to the lower left corner.
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