DERRIERE LE MIROIR10 ans d'edition. 1946 - 1956. Paris: Maeght 1956. 37,5 x 28,2 cm. Mit jeweils einer doppelblattgroßen Farblithographie von Marc Chagall (Mourlot 153) und Joan Miró (Mourlot 174), einer Lithographie von Jean Bazaine, je einer Radierung von Joan Miró (»Série V«, Dupin 96) und Alberto Giacometti sowie einem zweifarbig gedruckten Holzschnitt von Raoul Ubac für den Umschlag, welcher hier lose beiliegt. OrPgt. mit Abb. nach G. Braque in Frottage-Manier auf dem Vorderdeckel sowie mit beiliegendem Abzug desselben. Goldschnitt. Zusammen mit lose beigelegtem Umschlagdeckel in PpKassette.Cramer, Chagall 26. Cramer, Miro 36. - Jubiläumsausgabe der Zeitschrift in einem Pergament-Einband einer privat gebundenen Pracht-Ausgabe mit dem Motiv "Profil greek" (vgl. Vallier 146) von George Braque auf dem Vorderdeckel.
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Charles Biederman, born Karel Joseph Biederman (American, 1906-2004). Ink, gouache, and pen on paper painting titled "Study for Painting, Paris, January 1937" depicting abstracted shapes in pale blue, yellow, black, and green, 1937. Dated "1/37" along the lower right. With a label from Grace Borgenicht Gallery, New York affixed to the verso.Provenance: Estate of Charles Biederman.Lot Essay:Born to Czech parents in Cleveland in 1906, Biederman was involved in the American art scene for his entire life. He briefly studied at the Cleveland Art Institute and the School of the Art Institute of Chicago (SAIC) before dropping out and moving to New York. It was there that he met and was included in shows with other influential artists of the time including Alexander Calder, John Ferren, George L.K. Morris, and Charles Green Shaw.For nine months from 1936-37 Biederman studied in Paris. It was here that he met and was influenced by leading artists including Picasso, Mondrian, and Miro. He was initially influenced by the works of Fernand Leger before moving away from his style and towards totally abstract, geometric compositions. The movements of Cezanne, Post-Impressionism, and Cubism informed the evolution of his style. And while he started out painting, he abandoned two-dimensional for more sculptural works by the end of 1937.In 1941 he married Mary Moore Biederman and in the following year he moved to Red Wing, Minnesota, where he would spend the rest of his life. In the 1950s, he created the term "Structurism" to help define his works from Constructivism and De Stijl. Many prominent collections around the world contain Structurist Reliefs including The Whitney Art Museum, The Metropolitan Museum of Art, and The Tate, London.In 2004, Beiderman died at the age of 98 and his estate was subsequently given to the Weisman Art Museum on the University of Minnesota - Twin Cities campus. They have organized traveling exhibitions of his works.Sight; height: 17 in x width: 14 in. Framed; height: 19 1/4 in x width: 16 1/4 in x depth: 1 1/2 in.Condition: The sheet is slightly toned. The colors are bold and bright. There is a slight undulation to the sheet. Light soiling throughout, as expected from a study. The work is floated in frame. Framed under glass; light wear to the frame. Not inspected out of frame.
Charles Biederman, born Karel Joseph Biederman (American, 1906-2004). Ink, gouache, and pen on paper painting titled "Study for Painting, Paris, January 1937" depicting abstracted shapes in yellow, black, and white, 1937. Pencil signed and dated "P 1/37" along the lower left.Provenance: Estate of Charles Biederman.Lot Essay:Born to Czech parents in Cleveland in 1906, Biederman was involved in the American art scene for his entire life. He briefly studied at the Cleveland Art Institute and the School of the Art Institute of Chicago (SAIC) before dropping out and moving to New York. It was there that he met and was included in shows with other influential artists of the time including Alexander Calder, John Ferren, George L.K. Morris, and Charles Green Shaw.For nine months from 1936-37 Biederman studied in Paris. It was here that he met and was influenced by leading artists including Picasso, Mondrian, and Miro. He was initially influenced by the works of Fernand Leger before moving away from his style and towards totally abstract, geometric compositions. The movements of Cezanne, Post-Impressionism, and Cubism informed the evolution of his style. And while he started out painting, he abandoned two-dimensional for more sculptural works by the end of 1937.In 1941 he married Mary Moore Biederman and in the following year he moved to Red Wing, Minnesota, where he would spend the rest of his life. In the 1950s, he created the term "Structurism" to help define his works from Constructivism and De Stijl. Many prominent collections around the world contain Structurist Reliefs including The Whitney Art Museum, The Metropolitan Museum of Art, and The Tate, London.In 2004, Beiderman died at the age of 98 and his estate was subsequently given to the Weisman Art Museum on the University of Minnesota - Twin Cities campus. They have organized traveling exhibitions of his works.Sight; height: 17 in x width: 14 in. Framed; height: 19 1/4 in x width: 16 1/4 in x depth: 1 1/2 in.Condition: The sheet is slightly toned. The colors are bold and bright. There is a slight undulation to the sheet. Light soiling throughout, as expected from a study. The work is floated in frame. Framed under glass; light wear to the frame. Not inspected out of frame.
Joan Miro (Spanish (Catalan), 1893-1983). Etching with aquatint in colors on Arches paper titled "Georges Duthuit," 1976. Pencil signed along the lower right; numbered 18 H.C. / 75 along the lower left. This is an hors commerce impression aside from the standard edition of 100, published by Flammarion, Paris.Sight; height: 15 in x width: 22 in. Framed; height: 22 1/2 in x width: 31 in x depth: 1 1/2 in.Condition: The colors are bold and bright. The sheet is slightly toned. Light wear along the deckled edges, likely original to the artistic process. Four pieces of residual framer's tape affixed to the verso along the upper edge.
Joan Miro (Spanish (Catalan), 1893-1983). Lithograph on paper titled "Maravillas con Variaciones Acrosticas 5," 1975. Pencil signed along the lower right; editioned H.C. along the lower left.Sight; height: 21 in x width: 29 1/2 in. Framed; height: 30 1/2 in x width: 39 in x depth: 1 1/2 in.Condition: The colors are bold and bright. No visible tears, losses, or restorations. There is a slight undulation to the sheet. Flaoted in frame on an acidic mat. Framed under glass; light wear to the frame. Not inspected out of frame.
Joan Miro (Spanish (Catalan), 1893-1983). Lithograph on paper titled "Maravillas Acrosticas XII," first state. Pencil signed along the lower right. With a certificate of authenticity from Park West Galleries.Sight; height: 25 1/2 in x width: 15 1/2 in. Framed; height: 34 1/2 in x width: 24 1/2 in x depth: 1 1/2 in.Condition: The colors are bold and bright. There are no tears, creases, losses, or restorations. Toning due to an acidic mat. A few light handling marks. Two pieces of residual framer's tape affixed to the upper edge of the verso. Not framed.
SIR GRAYSON PERRY C.B.E., R.A. (BRITISH 1960-) HOLD YOUR BELIEFS LIGHTLY (EMBROIDERY) - 2011 Computerised embroidery on cotton and silk, 69/250, numbered to Victoria Miro Gallery, London label verso, programming by Tony Taylor, published by Victoria Miro Gallery, London/Venice 27cm x 40cm (10.5in x 15.75in) Victoria Miro Gallery
Surrealism A large collection of volumes on Surrealism and by Surrealist Authors to include Sylvester (David) Renee Magritte: Catalogue Raisonne, London: The Menil Foundation and Philip Wilson Publishers, 1992, folio, three volumes including original dustcovers; Bulletin de Liaison Surrealiste, 1970, Paris: Jean Louis Bedouin, 1970-1976, 10 volumes; Bounoure (Vincent) and Camacho (Jorge) Talismans, Paris: Editions Surrealiste, 1967, numbered edition 303/651; further including several volumes by Aragon, Surrealist publications and magazines, unpublished PhD and MA theses, as well as art historical volumes on artists such as Max Ernst, Salvador Dali, Marcel Duchamp, Giorgio de Chirico, Joan Miro and others (qty) The Library of Roger Cardinal Roger Cardinal (1940-2019)Roger Cardinal was one of Britain’s most distinguished art historians, best known for defining what is generally known as Outsider Art - that is, art by people with no formal training. He began his career as a lecturer at the French department of the University of Manitoba, Canada, subsequently moving to Warwick University and finally to the University of Kent at Canterbury, where he taught for fifty years and held a professorship.Roger Cardinal was not only a leading authority on Outsider Art, but also on Surrealism. He was a prolific writer and a master of literary style. His eloquent, percipient writings include several books on a wide range of subjects such as Outsider Art (1972), German Romantics in Context (1975) Figures of Reality (1981), Expressionism (1984), The Landscape Vision of Paul Nash (1989), The Cultures of Collecting (1994), and Kurt Schwitters (2011). He also acted as a curator and was a regular contributor to art-historical publications.Cardinal’s interest in art lay in its margins - the neurodiverse, psychotic, uneducated, autistic, self-taught and ‘other’. His fascination with artists such as the violently psychotic Adolf Wölfli lay in their creativity rather than in the sensationalism of their lives. Certainly, it did not lie in the resale value of their work. That outsider art should have its own multimillion-dollar annual fair in New York and specialist departments at Christie’s auctioneers ran quite contrary to Cardinal’s thinking.Much of Roger Cardinal’s library has recently been donated to the Tate Gallery including the handwritten diaries that he kept his whole life. Cardinal often used books as working tools, heavily annotating in the margins - as with many volumes in the current sale. The library offered reflects Cardinal’s varied interests and fluent command of French and German. Alongside a large collection of art reference works in his specialist subjects, we also find collections of books on fairy tales and science fiction.
Childish, Billy (pseud. Steven John Hamper). 2008 The Art World Apologises to Billy Childish, Hero of the British Art Resistance. Apologies Accepted from Sir Nicholas Serota, The Stuckishs, J. Joplin, Victoria Miro, Damien Hirst, Traci (sic.) Emin, Sir Richard Branson, Brian Eno and Significant Others. Two copies, each limited editions, hand numbered with Hangman doodle No. 31 of 50 and No. 36 of 50. No. 31 having been opened, contents being printed paper title page and A4 photocopied sheets, stapled upper left hand corner, containing facetious & tongue in cheek 'apologies' from noted modern artists & members of the art world; with Childish's photocopied annotations and amendments included. No. 36 remaining unopened. Both in smart condition, with edgewear to the envelopes commensurate with age, small tear to the flap of the opened envelope, which has been cut with a paper cutter. Two uncommon limited edition satirical letter collections by Childish. A4 leaves.
Miro, Joan (1893 - 1983), "Die endgültige Befreiung des Schwanzes der Katze" (1978),Farblithografie, lim. Aufl. Nr. 39/175, re. u. handsign., Gr. ca. 25 x 78 cm, PP, hinter Glas gerahmt (ca. 43 x 96 cm). Zustand: Verweis auf Vorbesichtigung. Verpackung und Versand nicht durch das Auktionshaus möglich.
Sarah Pickstone Damascus Rose 25, 2025 Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Sarah Pickstone is a painter who lives and works in London. Her work looks at structures of art history and literature and draws on motifs from historical sources. The work is however predominantly concerned with process and the material and time-based nature of paint. Education Royal Academy Arts London postgraduate University of Newcastle Upon Tyne BA undergraduate Solo Exhibitions 2023 Billboard 23 Kingsgate Gallery, London, UK 2018 - 19 An Allegory of Painting Royal Academy Arts, London, UK 2017 Other Stories Southwark Park Galleries, London, UK 2016 The Rehearsal Mercer Gallery, Harrogate Museum, UK 2015 The Writers Series New Art Centre, Wilts, UK Group Exhibitions 2025 A Plan for Living Thameside Gallery, London, UK Renaissance of Being, curated by Bengu Gun, London, UK 2024 Cubitt Invites Cubitt, London, UK 2023 Cubitt 30 Victoria Miro Gallery, London, UK 2022 The Return Kingsgate Gallery, London, UK 2021 Fully Awake Holden Gallery, Manchester School of Art, UK Knocking it Out Of The Park Gallery 46, London, UK Awards 2012 John Moores Painting Prize First Prize 2004 John Moores painting Prize Runner up 1991-1992 Rome Scholarship in Painting Public Collections Royal Academy Arts, London, UK Societe Generale Collection, London, UK Mercer Gallery, Yorkshire Museums Collection, UK Walker Art Gallery, National Museums of Liverpool, UK The Saatchi Collection, UK British School at Rome, Italy Statement about AOAP Submitted Artwork Damascus Rose 25 is a new painting based on a large work made in 2017. The original painting was made thinking about the Rose as symbol of English history. The flower - which I love - in fact migrated from the middle east, Syria and the Himalayas. The large hand is loosely based on a drawing - bottom left corner - from Guernica. War, beauty, destruction. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Jessie Makinson Don't Wrinkle Him, 2025 Watercolour, gouache, and chinese ink on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Jessie Makinson (b. 1985, London) lives and works, London. Makinson's work is in the collections of the British Museum, London; Long Museum, Shanghai; Hessel Museum, New York; and X Museum, Beijing. She has had solo exhibitions at Lyles & King, New York, US; Francois Ghebaly, Los Angeles, US; Galería OMR, Mexico City, MX; among others. Her work has been exhibited in group exhibitions including British Art Now, Telegraph Foundation, Olomouc, CR; The Descendants, K11 MUSEA, Hong Kong, CN; Machines of Desire, Simon Lee Gallery, London, UK & Hong Kong; Drawing Attention: Emerging British Artists, British Museum, London, UK; Der abscheuliche kuss, Kunstverein Dresden, Dresden, DE; Dancing in Dark Times, Pippy Houldsworth Gallery, London, UK; I See You, Victoria Miro Gallery, London, UK; No Patience for Monuments, Perrotin, Seoul, KR; In the Company Of, curated by Katy Hessel, TJ Boulting, London, UK; Formal Encounters, Nicodim Gallery, Bucharest, RO; among others. Makinson is represented by Lyles & King, New York and Francois Ghebaly, Los Angeles. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Ellie MacGarry Pair, 2025 Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Ellie MacGarry makes paintings which consider connection, distance, gesture and touch. Using repeated motifs, most notably the hand, her work explores the way we communicate with our bodies as much as we communicate with words. While paint will always fix an image in a moment, Ellie is particularly drawn to transitory moments - a window letting the light in in the morning, a shirt half open, two hands on the cusp of meeting. Education 2016-2018 MFA Painting, Slade School of Fine Art, London UK 2010-2014 BA Fine Art, University of Leeds, Leeds, UK Solo Exhibitions 2024 Echo, Cedric Bardawil, London, UK 2021 Disappearing Act, Steve Turner, LA, USA Your Hand is a Warm Stone, Steve Turner, LA, USA, 2021 (online) 2019 Come Undone, Daniel Benjamin Gallery, London, UK, 2019 Group Exhibitions 2025 XXS, County Gallery, Palm Beach, Florida 2024 Drawing Biennial, Drawing Room, London, UK Borrowed Drawings, Cubitt invites, London, UK Artist Fundraiser for MSF, Wharf Road, London, UK 2023 Full House, Canopy Collections, London, UK, 2023 Cure3, Bonhams, London, 2023 2022 Stage Effects, Kate MacGarry, London, UK Paper and Clay, Canopy Collections at Cromwell Place, London, UK CUBITT 30, Victoria Miro, London, UK All The Lives We Ever Lived, Canopy Collections at Cromwell Place, London, UK Erotiques, Nullepart, Estarac, France 2021 Until the Walls Became the World All Around, Canopy Collections at Van Gogh House, London, UK Chrysalis, Hyde Park Art Club, Leeds, UK 2020 Untitled (But Loved), Bosse and Baum, London, UK You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Ellie MacGarry Group, 2025 Ink on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Ellie MacGarry makes paintings which consider connection, distance, gesture and touch. Using repeated motifs, most notably the hand, her work explores the way we communicate with our bodies as much as we communicate with words. While paint will always fix an image in a moment, Ellie is particularly drawn to transitory moments - a window letting the light in in the morning, a shirt half open, two hands on the cusp of meeting. Education 2016-2018 MFA Painting, Slade School of Fine Art, London UK 2010-2014 BA Fine Art, University of Leeds, Leeds, UK Solo Exhibitions 2024 Echo, Cedric Bardawil, London, UK 2021 Disappearing Act, Steve Turner, LA, USA Your Hand is a Warm Stone, Steve Turner, LA, USA, 2021 (online) 2019 Come Undone, Daniel Benjamin Gallery, London, UK, 2019 Group Exhibitions 2025 XXS, County Gallery, Palm Beach, Florida 2024 Drawing Biennial, Drawing Room, London, UK Borrowed Drawings, Cubitt invites, London, UK Artist Fundraiser for MSF, Wharf Road, London, UK 2023 Full House, Canopy Collections, London, UK, 2023 Cure3, Bonhams, London, 2023 2022 Stage Effects, Kate MacGarry, London, UK Paper and Clay, Canopy Collections at Cromwell Place, London, UK CUBITT 30, Victoria Miro, London, UK All The Lives We Ever Lived, Canopy Collections at Cromwell Place, London, UK Erotiques, Nullepart, Estarac, France 2021 Until the Walls Became the World All Around, Canopy Collections at Van Gogh House, London, UK Chrysalis, Hyde Park Art Club, Leeds, UK 2020 Untitled (But Loved), Bosse and Baum, London, UK You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
MIRO JOAN: (1893-1983) Spanish painter. A fine and extremely rare signed pochoir in colours on wove paper, with lithographic inscription at the base, approximately 24.5 x 32 cm, being one of just sixty Hors Commerce examples of Miro´s famous stencil print entitled Aidez l´Espagne (1937; ´Help Spain´), the brightly coloured design (incorporating the strong red and yellow colours of the Spanish and Catalan flags) depicting a Catalan peasant farmer wearing a barretina and with his right fist raised in a loyalist salute, framed above and below by the two words that form the motto, an exhortation to the citizens of neighbouring countries to support the government of the Spanish Republic, then immersed in the Civil War. The French printed text to the lower border states ´Dans la lutte actuelle, je vois du cote fasciste des forces depassees, et de l´autre cote des gens, avec d´immenses ressources creatives qui donneront a l´Espagne un elan qui etourdira le monde´ (Translation: ´In this present battle I see on the fascist side just the outdated forces, and on the other side, the people whose immense creative resources which will give Spain a power which will astonish the whole world´). Marked H.C. and signed (´Miro´) by the artist in pencil at the base. VGAidez l´Espagne was created by Miro in 1937 at the request of the art critic, collector, writer and publisher Christian Zervos with the idea that it could be issued as a one franc postage stamp to raise funds to finance the government of the Spanish Republic. Although Miro was not a deeply political artist, the project was carried out as part of the preparation and setup of the Spanish Republic pavilion for the 1937 Paris International Exposition, for which Miro also contributed his mural The Reaper (also known as The Catalan Peasant in Revolt). Miro´s striking graphic work was never issued as a postage stamp, but instead was published in two editions, of which the present signed Hors Commerce (´out of trade´) example is by far the rarer of the two. The other, unsigned edition, was published in numbers 4-5 of the Cahiers d´Art magazine, also in 1937, and is documented in the Catalogue Raisonné: Miró Recorder (1928-1960) by Jacques Dupin (p.40, No.17).
PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. A good illustrated A.L.S., Picasso, one page, 4to, Cannes, 17th January 1956, to Max [Pellequer], in French. Picasso writes a brief letter, in full, ´Oui mon cher Max, je les ai recues et 100,000 et plus de fois merci´ (Translation: ´Yes, my dear Max, I've received them 100,000 times over, thank you´). Above his message of three lines Picasso has added an original blue ink drawing in his hand, which dominates the page, and depicts a bottle of wine standing alongside a glass. A simple yet highly appealing illustrated letter on a theme which recurred in many of Picasso´s artworks during his career. Some light, minor creasing and a few small tears to the edges, not affecting the text or illustration. About VGMax Pellequer (1903-1973) French banker and art collector who would become Picasso´s private banker, financial adviser and close friend. Pellequer assembled an important collection of artworks in the 1920s and 1930s which included a number of significant early pieces by Picasso, as well as works by Paul Cezanne, Edgar Degas, Paul Gauguin, Henri Matisse, Joan Miro and others. Almost two hundred letters from Pellequer to Picasso are preserved in the Musee National Picasso in Paris.´Picasso permanently relocated to Paris in 1904. He spent the remainder of his life and artistic career living in France……Alcohol was an important facet of French artists’ social scene and of their art. Bars, cafes, and other drinking establishments often served as meeting places and hangouts for artists of the generations immediately preceding Picasso, and it is no surprise that they frequently took these places and their wares as subjects for their works……..Picasso, like other artists living in France at the time, was the inheritor of the cultural ripples of alcohol, as well as of the visual themes it inspired….[Picasso´s]…….1896 painting The First Communion, depicts a young woman about to receive her first communion……[this, and other]……works do not prominently feature alcohol per se, although they do reveal an important facet of Picasso’s relationship with wine: wine not only as a religious sacrament, but also as marker of identity……..For Catholic Picasso, wine was not simply a tool for worship, but must also have been a sort of divine vessel, which, through God, became something new and holy. The doctrine of transubstantiation, by which Eucharist wine becomes the blood of Christ, was and remains a defining feature of Catholicism. These works also lay a foundation for Picasso’s later exploration of wine in the very different context of ancient Greco-Roman religion……The Minotaur’s Repose: Champagne and Mistress depict a minotaur and a nude woman reclining on a couch; the minotaur looks over his shoulder towards the viewer, raising the glass of wine in his hand…….The Dionysiac characters of satyrs and maenads (depicted in Picasso’s Bacchanale) also embody the intoxicating effects of alcohol which distance drinkers from the rational mind and, in Greek myth, their humanity…….This is a very different relationship to wine than the Catholic imagery of Picasso’s earlier career evokes, but both imply significance and even a form of reverence. In Picasso’s works, wine can be both transformed and transformative´ (extracts from Picasso: Wine and Art at La Cité du Vin by Paige Crawley, 2022)
PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. A wonderful and vibrantly illustrated A.L.S., Picasso, two pages, slim 4to (approximately 10.5 x 27.5 cm), Mas Notre-Dame-de-Vie, Mougins, Alpes-Maritimes, 23rd October 1962, to Max [Pellequer] (´Mon cher Max´), in French. The artist sends his correspondent more papers, with his thanks, and continues to provide a snapshot of his relaxed life with his second wife and muse, Jacquelibe Roque, on the Cote d´Azur ´Il fait l´été nous nous sommes baignez au port hier encore et nous aurions pu aller encore aujourd´hui hier ce matin encore sur la plage et dejeuner sur le sable comme jusques à présent´ (Translation: ´It's summer, we went swimming at the port again yesterday and we could have gone again today yesterday or this morning again on the beach and had lunch on the sand as we have been doing until now´), further profusely expressing his gratitude to Pellequer, ´Merci et merci encore pour toute du travail que je vous donne avec tant d´histoire de contributions et maisons. Merci. Merci. Merci. Vous etes très bon pour moi´ (Translation: ´Thank you and thank you again for all the work I give you with so much history of contributions and houses. Thank you. Thank you. Thank you. You are very good to me´) and concluding by sending best wishes from himself and Jacqueline. To further reinforce the joy Picasso has found on his recent visit to the beach, the artist has added a delightful original drawing at the foot of his letter, executed in blue ink and various coloured crayons, depicting a magnificent, bright yellow sun in a clear blue sky, shining upon the deep blue Mediterranean sea, in which two bathers can be seen, and with a beach in the foreground upon which appear a number of other figures, some happily relaxing beneath bright orange parasols. To further illuminate his letter Picasso has underlined each Merci in orange crayon (a total of six times) and also underlined the name of his villa and the date in blue crayon at the head of the first page. A magnificent and rare illustrated letter by Picasso. A few very light, extremely minor creases, VGMax Pellequer (1903-1973) French banker and art collector who would become Picasso´s private banker, financial adviser and close friend. Pellequer assembled an important collection of artworks in the 1920s and 1930s which included a number of significant early pieces by Picasso, as well as works by Paul Cezanne, Edgar Degas, Paul Gauguin, Henri Matisse, Joan Miro and others. Almost two hundred letters from Pellequer to Picasso are preserved in the Musee National Picasso in Paris.In 1961, Picasso, who had discovered Mougins in 1936, bought Mas Notre-Dame-de-Vie from the Guinness family as a wedding present for his future wife Jacqueline. Referred to by Picasso as the ´house of my dreams´, the large villa (set in three hectares and with views over the Bay of Cannes) would be the artist´s final residence.
PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. A.L.S., Picasso, one page, 4to, Vallauris (Cote d´Azur), 5th May 1950, to Max [Pellequer] (´Mon cher Max´), in French. Picasso writes regarding a financial matter and the Banque Nationale pour le Commerce et l´Industrie and states, in part, ´La B.N.C.I. m´envoi des feuilles a remplir pour l´argent envoye de Suisse. Je vous l´envoie.....et vous les remplirez sachant mieux que moi comment il faut le faire´ (Translation: ´The B.N.C.I. sends me forms to fill in for money sent from Switzerland. I'll send them to you ..... and you can fill them in knowing better than I do how to do it´). In a postscript the artist also adds that he hopes the bank will send him a receipt for the payments. VGMax Pellequer - French banker and art collector who would become Picasso´s private banker, financial adviser and close friend. Pellequer assembled an important collection of artworks in the 1920s and 1930s which included a number of significant early pieces by Picasso, as well as works by Paul Cezanne, Edgar Degas, Paul Gauguin, Henri Matisse, Joan Miro and others. Almost two hundred letters from Pellequer to Picasso are preserved in the Musee National Picasso in Paris.Picasso had come to live in Vallauris in 1948 and stayed in the seaside commune until 1955. During this time he created a great number of sculptures and paintings, including his mural War and Peace, and also developed a fascination for the techniques of ceramics and linocuts.
Joan Miro, Der Lithograph I-VI, Bd. V doppelt, mit 32 OriginallithographienJoan Miro, Der Lithograph, I-VI, Bd. I: mit 11 Originallithographien, Maeght, Paris 1972; Bd. II: 1953-63, 11 Originallithographien, Maeght, Paris 1975; Bd. III: 1964-69, 5 Originallithographien, Maeght, Paris 1977; Bd. IV: 1969-72, mit 5 OL, Maeght, Paris 1982; Bd. V: 1972-75, Bd. VI: 1976-81; Band V, doppelt, 1x neu in Folie eingeschweißt, alle Bände Weber Genf u. leinengebunden mit Schutzumschlag; mit 32 Originallithographien in Bd. 1-IV
Galeriennachlass mit 28 graphischen Arbeiten: Rudolf Hausner, Janosch, Horst Janssen, Joan Miro, Matisse, Salvador Dali, A.R. Penck u.a., teils gerahmt, Selbstbesichtigung empfohlenRudolf Hausner, "Adams-Pyramide, große Farblitho von 1972, 90/200, sign. // AXL, "Die Rolling Stones",4 großformatige "schwarze" Fotogravuren - "ACDC", 2 kleinere "schwarze" Fotogravuren - Die Blueslegende "Earl Hines" von Axl, alle Blätter num. u. sign. // Janosch, "Weltmeisterschaft im Eiskunstlaufen, München 1991, 85 x 60 cm, sign. Plakat // 2 x Horst Janssen, "Endi war hohl" & "12/13 Sept. 1981 - Jahr der Krüppel", sign. // Banksy, "Forgive is our trespassing", Farboffset // 2 x Joan Miro, Doppelblatt-Farblithographien // Fritz Winter, Farblitho Olympia 1972/ München mit 3 Kratzern // Salvador Dali, "Gewaltsamer Tod", Farbholzschnitt von 1963, gerahmt // Henri Matisse, "Elle vit apparaitre le Matin. Elle se tut discrètement, Farblitho nach einem Original von 1950, gerahmt // A.R.Penck, "Standart", sehr große Farboffset-Lithographie von 1991 (248 x 129 cm ), signiert u. num. 37/50, mit Wasserschaden, aber durchaus sammelwürdig
Joan Miro signed lithograph printed in colors, designed for a book and published in an edition of 50 prov : Galeria Botello, Puerto Rico, collection Mrs. M.P., MontrealMIRO JOAN (1893 - 1983) kleurlitho ontworpen voor de omslag van een boek en uitgegeven op 50 exemplaren, getiteld : "Personaje y Pajaro" - 31 x 49 getekend prov : Galeria Botello, Puerto Rico, collectie Mme. M.P., Montreal
'Matisse Paintings 1939-1946', intro. Denys Sutton, London, Lindsay Drummond Ltd, 1946, 1st UK edition, 16 tipped in colour plates of works by Matisse complete, folio, original spiral bound printed wraps, mounted colour illustration of Matisse work on front cover, scarce; plus 'Braque Paintings 1909-1947', L, Lindsay Drummond, 1948, 1st UK edition, 16 tipped in colour plates + mounted colour illustration on cover complete, folio, orig. printed wraps; together with 2 other similar format works with tipped in colour plates on Pierre Bonnard and Henri Matisse, plus a Japanese art publication, 1975, 34 mainly colour prints of artists including Chagall, Dufy, Klee, Leger, Miro, Picasso, Nicholson etc, 4to, orig. printed wraps, and 5 Guy Arnoux pochoir style colour plates (10)
MIRO, Joan Zum 75sten Geburtstag des FC Barcelona - "Barça"Offsetdruck/Lithografie. Signatur im Druck / Blindstempel "Fútbol Club Barcelona". Gerahmt & hinter Glas : 91 x 73,5 cm / 6,3 kg. Nummeriertes Blatt 1370/1500. Aufrufzeit 01. | März 2025 | voraussichtlich 11:09 Uhr (CET) MIRO, Joan For the 75th birthday of FC Barcelona - "Barça"Offset print/lithograph. Signature in print / blindstamp "Fútbol Club Barcelona". Framed & behind glass : 91 x 73.5 cm / 6.3 kg. Numbered sheet 1370/1500. Call time 01 | March 2025 | presumably 11:09 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
DOUG HYDE (BRITISH 1972) 'THE SMILE' a sculpture of a smiling face, no edition number or certificate, approximate size of Perspex case 40cm x 40cm, with box and packaging, a limited edition print depicting Chinese female figures by J. Howard, together with a quantity of lithographic printing test prints of various subjects and products, a PAN AM calendar for 1968, Miro poster prints etc Condition Report: the sculpture has been broken and a wig applied to hide some of the damage (artist resale rights apply)
oil on canvas, signed, titled and dated '12-'17 verso framed image size 91cm x 120cm, overall size 104cm x 134cm Condition of the picture is good overall, with no visible or known issues. Note: Iain Carby was one of our most popular artists and he consigned to our auctions frequently over many years until shortly before his sad passing. Inspired by Catalonian Surrealist Miro, Carby’s distinctive style reflects his lust for life and passion for warmer climates. Although Surrealist in its foundation, his work remains rooted in the landscape where brilliant azure skies and bright patchwork fields are suffused with brushstrokes of pure liquid sunshine. He was a Member of Aberdeen Artists Society.
Hunt Slonem (American, b. 1951) "Red Rover" Oil on Panel. Signed, titled and dated (2020) verso.Sight Size: 10 x 8 in. Overall Framed Size: 17 x 15 in. Recognized for his distinct neo-expressionist style, Slonem’s works can be found in the permanent collections of 250 museums around the world, including the Solomon R. Guggenheim Museum, the Metropolitan Museum of Art in New York City, the Whitney, the Miro Foundation, and the New Orleans Museum of Art.
Hunt Slonem (American, b. 1951) Blue Bunny w/ Diamond DustOil on Panel. Signed and dated (2019) verso. Sight Size: 10 x 8 in. Overall Framed Size: 19.75 x 17.75 x 2 in. Recognized for his distinct neo-expressionist style, Slonem’s works can be found in the permanent collections of 250 museums around the world, including the Solomon R. Guggenheim Museum, the Metropolitan Museum of Art in New York City, the Whitney, the Miro Foundation, and the New Orleans Museum of Art.
David TREMLETT (1945) Sketch for Miro Graphite on paper, signed with initials, titled and dated '93, further signed verso, 15cm x 21cm, 39.5cm x 45.5cm framed. In January 1997, artist Bob Devereux suffered a stroke. In March, Martin Val Baker and Anthony Frost devised a plan to hold a fundraising sale for his benefit where artists were asked to produce work which was sold at £30 each. David Tremlett sent two leaves from his sketch pad to Martin. The sketches were part of his preparation for an exhibition at the Miro Foundation, Barcelona in 1993.
JAMES MORRISON MCCHLERY (SCOTTISH 1924 - 1969), FRENCH STREET SCENE oil on canvas, signed and dated '55framed image size 37cm x 27cm, overall size 47cm x 37cm Note: James Morrison McChlery, known as ‘Morris’, was born in 1924 in the west end of Glasgow. He was educated at Hillhead High School and Glasgow Academy. During the war, he began to paint seriously and trained himself in watercolours and oils. He was inspired by a wide range of painters, including the Impressionists, abstract artists such as Miro and Klee, and the Scottish Colourists. After the war he established links with other artists in and around Glasgow, including Alan Fletcher, Bet Low, Margaret Oliver Brown, Pierre Lavale, and others. In particular, he became a good friend and protégée of the colourist J. D. Fergusson, who returned to Scotland after the war with his wife Margaret Morris intending to support the development of the arts in Scotland. Fergusson was the active patron of the ‘New Scottish Group’ of young artists, and Morris was the secretary for several years, organising exhibitions and sales with other artists. They were the first people to hang pictures for sale on the railings of the Botanic Gardens in Glasgow, which was remembered for years and which is still revived from time to time He sketched and painted constantly, abroad and in Scotland. To make a living he joined the family firm of James, Morrison, McChlery & Co, auctioneers and valuers, who traded from the Crown Halls in Sauchiehall Street. During his work there he developed his knowledge and expertise, and reputation, in art and objects d’art, in which prosperous Glasgow families were well endowed. Before his untimely death in a car accident in 1969, Morris, produced a huge body of work of great variety: studies of industrial post-war Glasgow, glowing Scottish landscapes, vibrant impressionistic still lifes, and diverse abstracts.
JAMES MORRISON MCCHLERY (SCOTTISH 1924 - 1969), QUILLAN, FRANCE watercolour on paper, signed, titled and dated 1950mounted, framed and under glass image size 24cm x 31cm, overall size 34cm x 41cm Note: James Morrison McChlery, known as ‘Morris’, was born in 1924 in the west end of Glasgow. He was educated at Hillhead High School and Glasgow Academy. During the war, he began to paint seriously and trained himself in watercolours and oils. He was inspired by a wide range of painters, including the Impressionists, abstract artists such as Miro and Klee, and the Scottish Colourists. After the war he established links with other artists in and around Glasgow, including Alan Fletcher, Bet Low, Margaret Oliver Brown, Pierre Lavale, and others. In particular, he became a good friend and protégée of the colourist J. D. Fergusson, who returned to Scotland after the war with his wife Margaret Morris intending to support the development of the arts in Scotland. Fergusson was the active patron of the ‘New Scottish Group’ of young artists, and Morris was the secretary for several years, organising exhibitions and sales with other artists. They were the first people to hang pictures for sale on the railings of the Botanic Gardens in Glasgow, which was remembered for years and which is still revived from time to time He sketched and painted constantly, abroad and in Scotland. To make a living he joined the family firm of James, Morrison, McChlery & Co, auctioneers and valuers, who traded from the Crown Halls in Sauchiehall Street. During his work there he developed his knowledge and expertise, and reputation, in art and objects d’art, in which prosperous Glasgow families were well endowed. Before his untimely death in a car accident in 1969, Morris, produced a huge body of work of great variety: studies of industrial post-war Glasgow, glowing Scottish landscapes, vibrant impressionistic still lifes, and diverse abstracts.
JAMES MORRISON MCCHLERY (SCOTTISH 1924 - 1969), VIEW OF CHURCH watercolour on paper, signed and dated 1954mounted, framed and under glass image size 25cm x 35cm, overall size 39cm x 47cm Note: James Morrison McChlery, known as ‘Morris’, was born in 1924 in the west end of Glasgow. He was educated at Hillhead High School and Glasgow Academy. During the war, he began to paint seriously and trained himself in watercolours and oils. He was inspired by a wide range of painters, including the Impressionists, abstract artists such as Miro and Klee, and the Scottish Colourists. After the war he established links with other artists in and around Glasgow, including Alan Fletcher, Bet Low, Margaret Oliver Brown, Pierre Lavale, and others. In particular, he became a good friend and protégée of the colourist J. D. Fergusson, who returned to Scotland after the war with his wife Margaret Morris intending to support the development of the arts in Scotland. Fergusson was the active patron of the ‘New Scottish Group’ of young artists, and Morris was the secretary for several years, organising exhibitions and sales with other artists. They were the first people to hang pictures for sale on the railings of the Botanic Gardens in Glasgow, which was remembered for years and which is still revived from time to time He sketched and painted constantly, abroad and in Scotland. To make a living he joined the family firm of James, Morrison, McChlery & Co, auctioneers and valuers, who traded from the Crown Halls in Sauchiehall Street. During his work there he developed his knowledge and expertise, and reputation, in art and objects d’art, in which prosperous Glasgow families were well endowed. Before his untimely death in a car accident in 1969, Morris, produced a huge body of work of great variety: studies of industrial post-war Glasgow, glowing Scottish landscapes, vibrant impressionistic still lifes, and diverse abstracts.
* IAIN CARBY (SCOTTISH 1941 - 2023), ST MARGARET'S HOPE oil on canvas, signed, titled versoframedimage size 49cm x 19cm, overall size 69cm x 39cm Note: Iain Carby was one of our most popular artists and he consigned to our auctions frequently over many years until shortly before his sad passing. Inspired by Catalonian Surrealist Miro, Carby’s distinctive style reflects his lust for life and passion for warmer climates. Although Surrealist in its foundation, his work remains rooted in the landscape where brilliant azure skies and bright patchwork fields are suffused with brushstrokes of pure liquid sunshine. He was a Member of Aberdeen Artists Society.
JAMES MORRISON MCCHLERY (SCOTTISH 1924 - 1969), STILL LIFE mixed media on papermounted, framed and under glass image size 36cm x 26cm, overall size 51cm x 41cm Note: James Morrison McChlery, known as ‘Morris’, was born in 1924 in the west end of Glasgow. He was educated at Hillhead High School and Glasgow Academy. During the war, he began to paint seriously and trained himself in watercolours and oils. He was inspired by a wide range of painters, including the Impressionists, abstract artists such as Miro and Klee, and the Scottish Colourists. After the war he established links with other artists in and around Glasgow, including Alan Fletcher, Bet Low, Margaret Oliver Brown, Pierre Lavale, and others. In particular, he became a good friend and protégée of the colourist J. D. Fergusson, who returned to Scotland after the war with his wife Margaret Morris intending to support the development of the arts in Scotland. Fergusson was the active patron of the ‘New Scottish Group’ of young artists, and Morris was the secretary for several years, organising exhibitions and sales with other artists. They were the first people to hang pictures for sale on the railings of the Botanic Gardens in Glasgow, which was remembered for years and which is still revived from time to time He sketched and painted constantly, abroad and in Scotland. To make a living he joined the family firm of James, Morrison, McChlery & Co, auctioneers and valuers, who traded from the Crown Halls in Sauchiehall Street. During his work there he developed his knowledge and expertise, and reputation, in art and objects d’art, in which prosperous Glasgow families were well endowed. Before his untimely death in a car accident in 1969, Morris, produced a huge body of work of great variety: studies of industrial post-war Glasgow, glowing Scottish landscapes, vibrant impressionistic still lifes, and diverse abstracts.
JAMES MORRISON MCCHLERY (SCOTTISH 1924 - 1969), KELVINGROVE PARK oil on board, signed, titled and dated 1952 versoframed image size 29cm x 39cm, overall size 38cm x 48cm Note: James Morrison McChlery, known as ‘Morris’, was born in 1924 in the west end of Glasgow. He was educated at Hillhead High School and Glasgow Academy. During the war, he began to paint seriously and trained himself in watercolours and oils. He was inspired by a wide range of painters, including the Impressionists, abstract artists such as Miro and Klee, and the Scottish Colourists. After the war he established links with other artists in and around Glasgow, including Alan Fletcher, Bet Low, Margaret Oliver Brown, Pierre Lavale, and others. In particular, he became a good friend and protégée of the colourist J. D. Fergusson, who returned to Scotland after the war with his wife Margaret Morris intending to support the development of the arts in Scotland. Fergusson was the active patron of the ‘New Scottish Group’ of young artists, and Morris was the secretary for several years, organising exhibitions and sales with other artists. They were the first people to hang pictures for sale on the railings of the Botanic Gardens in Glasgow, which was remembered for years and which is still revived from time to time He sketched and painted constantly, abroad and in Scotland. To make a living he joined the family firm of James, Morrison, McChlery & Co, auctioneers and valuers, who traded from the Crown Halls in Sauchiehall Street. During his work there he developed his knowledge and expertise, and reputation, in art and objects d’art, in which prosperous Glasgow families were well endowed. Before his untimely death in a car accident in 1969, Morris, produced a huge body of work of great variety: studies of industrial post-war Glasgow, glowing Scottish landscapes, vibrant impressionistic still lifes, and diverse abstracts.
* IAIN CARBY (SCOTTISH 1941 - 2023), THE CINNAMON TREE (CEYLON) oil on canvas, signed, titled and dated '12-'17 versoframedimage size 91cm x 120cm, overall size 104cm x 134cmNote: Iain Carby was one of our most popular artists and he consigned to our auctions frequently over many years until shortly before his sad passing. Inspired by Catalonian Surrealist Miro, Carby’s distinctive style reflects his lust for life and passion for warmer climates. Although Surrealist in its foundation, his work remains rooted in the landscape where brilliant azure skies and bright patchwork fields are suffused with brushstrokes of pure liquid sunshine. He was a Member of Aberdeen Artists Society.Condition of the picture is good overall, with no visible or known issues.
JAMES MORRISON MCCHLERY (SCOTTISH 1924 - 1969), MUSICIAN AND DANCER oil on canvas, signed, titled and dated 1951 versoframed image size 31cm x 26cm, overall size 40cm x 35cm Note: James Morrison McChlery, known as ‘Morris’, was born in 1924 in the west end of Glasgow. He was educated at Hillhead High School and Glasgow Academy. During the war, he began to paint seriously and trained himself in watercolours and oils. He was inspired by a wide range of painters, including the Impressionists, abstract artists such as Miro and Klee, and the Scottish Colourists. After the war he established links with other artists in and around Glasgow, including Alan Fletcher, Bet Low, Margaret Oliver Brown, Pierre Lavale, and others. In particular, he became a good friend and protégée of the colourist J. D. Fergusson, who returned to Scotland after the war with his wife Margaret Morris intending to support the development of the arts in Scotland. Fergusson was the active patron of the ‘New Scottish Group’ of young artists, and Morris was the secretary for several years, organising exhibitions and sales with other artists. They were the first people to hang pictures for sale on the railings of the Botanic Gardens in Glasgow, which was remembered for years and which is still revived from time to time He sketched and painted constantly, abroad and in Scotland. To make a living he joined the family firm of James, Morrison, McChlery & Co, auctioneers and valuers, who traded from the Crown Halls in Sauchiehall Street. During his work there he developed his knowledge and expertise, and reputation, in art and objects d’art, in which prosperous Glasgow families were well endowed. Before his untimely death in a car accident in 1969, Morris, produced a huge body of work of great variety: studies of industrial post-war Glasgow, glowing Scottish landscapes, vibrant impressionistic still lifes, and diverse abstracts.
Charles Biederman, born Karel Joseph Biederman (American, 1906-2004). Ink and gouache on Arches paper painting titled "Sculpture Model" depicting abstracted shapes in red and blue, 1937. Signed and dated "Paris 2/37" along the lower left; titled along the lower right. With a Menconi & Schoelkopf, New York, gallery label affixed to the verso.Provenance: Estate of Charles Biederman.Lot Essay:Born to Czech parents in Cleveland in 1906, Biederman was involved in the American art scene for his entire life. He briefly studied at the Cleveland Art Institute and the School of the Art Institute of Chicago (SAIC) before dropping out and moving to New York. It was there that he met and was included in shows with other influential artists of the time including Alexander Calder, John Ferren, George L.K. Morris, and Charles Green Shaw.For nine months from 1936-37 Biederman studied in Paris. It was here that he met and was influenced by leading artists including Picasso, Mondrian, and Miro. He was initially influenced by the works of Fernand Leger before moving away from his style and towards totally abstract, geometric compositions. The movements of Cezanne, Post-Impressionism, and Cubism informed the evolution of his style. And while he started out painting, he abandoned two-dimensional for more sculptural works by the end of 1937.In 1941 he married Mary Moore Biederman and in the following year he moved to Red Wing, Minnesota, where he would spend the rest of his life. In the 1950s, he created the term "Structurism" to help define his works from Constructivism and De Stijl. Many prominent collections around the world contain Structurist Reliefs including The Whitney Art Museum, The Metropolitan Museum of Art, and The Tate, London.In 2004, Beiderman died at the age of 98 and his estate was subsequently given to the Weisman Art Museum on the University of Minnesota - Twin Cities campus. They have organized traveling exhibitions of his works.Sight; height: 18 in x width: 14 in. Framed; height: 23 in x width: 20 in x depth: 1 1/2 in.Condition: The colors are bold and bright. There are no visible tears or restorations. The sheet is toned. Some light creases along the lower edge. Housed under a non-acidic mat. Framed under plexiglass; light wear to the frame. Not inspected out of frame.
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