Charles Biederman, born Karel Joseph Biederman (American, 1906-2004). Painted aluminum 'Structurist Relief' sculpture titled "Untitled (#6)" depicting a three-dimensional geometric abstract composition in bright colors against a mint-green background, 1983-85. Signed, dated, and titled along the verso. With a custom moving crate. With a Menconi & Schoelkopf, New York, gallery label affixed to the crate.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 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 similar to the artwork offered here 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.Height: 42 1/2 in x width: 31 3/4 in x depth: 11 in.Condition: The colors are bold and bright. There are no major losses, bends, or repairs. There is one minute paint loss to the upper-most purple square.
We found 2759 price guide item(s) matching your search
There are 2759 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
UNBEKANNTER KÜNSTLER20. Jh.Titel: Kind mit Häschen. Technik: Gipsguss. Maße: 24 x 15 x 16cm. Bezeichnung: Bezeichnet unten: "Miro Musulin / Austin Prod. Inc 72". Provenienz:Privatbesitz, Deutschland. Voraussichtliche Versandkosten für dieses Los: Absprache nach der Auktion.Erläuterungen zum Katalog Unbekannter Künstler Skulpturen Kind / Kinder Skulptur
A collection of nine unframed paintings and drawings to include A Charcoal portrait by R.G. Eves dated 1927. 55.5cm x 43.5cm. light soiling to the board surface. A drawing of a sports car by Alan Stammers 1985. 52cm x 74cm. light soiling to the board. A pencil portrait and small watercolour by A. Legros. images in good condition soiling to the mount. Image sizes 19cm x 15.5cm and 10cm x 8cm An oil on board by Charly Delhauteur. 54cm x 80cm some scuffing and light soiling. A landscape on board signed Miro. 41.5cm x 44.5cm plus four other unsigned works.
Sancti Thomae Aquinatis Ordinis Fratrum Praedicatorum Doctoris Angelici Expositio Continva Svper Quatuor Evangelistas - Ex Latinis Et Graecis Auctoribus Ac Praesertim Ex Patrum Sententiis Et Glossis Miro Artificio Quasi Uno Tenore Contextuque Conflata, Simul Ac CATENA AUREA Justissimo Titulo Nuncupata. Aquin, Thomas von und Joannem Nicolai: Published by Herbipoli; Zieger, 1704. A commentary on the 4 Gospels. First German Edition. Title page red and black print. Blind-Stamped Volume Bound in Pigskin with clasps intact. Ex libris
A QUANTITY OF MODERN DECORATIVE PRINTS, to include two limited edition prints one the style of Joan Miro, the other depicts a nude female figure, both signed Theofanidis, approximate sizes 62cm x 78cm including frames, two modified John Gould 'Birds of Australia' prints, two Grace Popp 'Cherry Blossom' prints, a Jonathan Truss limited edition print of African Elephants, two Gordon Breckenridge Italian landscape prints, three indistinctly signed limited edition prints of Prague, an indistinctly signed continental landscape, two botanical study prints and an open edition Jack Vettriano print 'The Singing Butler'
Three books by John Claridge, '8 Hours', "South America A portfolio' and 'One Hundred Photographs' together with 'Sightings I-IX & Red easy a color' with poems by Jerome Rothenberg and ten prints by Ian Tyson, and Joan Miro - His graphic work published by Harry Abrams, 1958, and another entitled Joan Miro, Tate Publishing
Hunt Slonem (American, Born 1951)"Picul" - 1983Important exhibited painting. Oil on canvas. Inscribed verso.Acquired directly from the artist. This painting was part of the most recent Hunt Slonem retrospective exhibition "Sign of the Rabbit: The Colorful World of Hunt Slonem" (February 10, 2024 - August 4, 2024).Size: 44 x 64 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, Born 1951)"Afternoon" - 2006Oil on canvas painting. Signed and inscribed verso.Acquired directly from the artist. Partial old labels verso.Size: 36 x 48 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, Born 1951)"Loud Whisper" - 2011Oil on canvas painting. Inscribed and signed verso.Acquired directly from the artist.Size: 48 x 48 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.
RAPA NUI LIZARDMAN FIGURE, EASTER ISLANDtangata moko toromiro wood, obsidian, boneHeight 68.5 cmold no.'D.35.23-3' in white paint under the ring. This inscription refers to a loan made to the Musée d'Ethnographie du Trocadéro, Paris in 1935. This object once had an Kichizo Inagaki base, now lost.ProvenancePaul Eluard and André Breton, ParisEtude Bellier, Paris, 2 July 1931, lot 162René Gaffé, BrusselsChristie's, Paris, 8 December 2001, lot 10LiteraturePortier, A. and Poncetton, F., Décoration océanienne, Paris, 1931, pl.IOrliac, C., Botanical Identification of 200 Easter Island Wood Carvings, 2007, table 2Biro, Y., Hourdé, C.-W., and Rolland, N., Surréalisme: Zones de contact, Paris, 2024, p.12ExhibitedParis, Musée d'Ethnographie du Trocadéro, Ile de Pâques - Exposition de la mission Franco-Belge en Océanie, 21 June - 30 October 1935Footnotes:Paul Éluard and André Breton first met in Paris in March 1919. Breton, along with fellow writers, Philippe Soupault, and Louis Aragon, had recently started a new surrealist magazine, Littérature. Impressed by what the shy Éluard read to them on the occasion, they invited him to contribute to the next edition of the magazine. Breton and Éluard became close friends. In 1924, exactly 100 years ago, Breton published his first Surrealist manifesto along with Éluard and fellow writers Louis Aragon, André Breton, Robert Desnos, Jacques Baron, Jean Carrive, René Crevel; the photographer Jacques-André Boiffard and the artist Georges Malkine. Claiming to be the successors of the legacy of Guillaume Apollinaire who had first used the term 'surrealism' in 1917, they sought to allow the free expression of the unconscious mind. The arts of the Pacific would play an important role in the Surrealist movement. Breton had purchased his first object of 'primitive art', an Easter Island sculpture, with money given to him by his parents in 1913 for passing a school exam. The arts of the Pacific best represented the revolution of artistic perception the Surrealists sought with its variety and unexpected visual appearance. On a map entitled 'The World at the Time of Surrealism', published in the Belgian avant-garde magazine Variétés, countries were accorded a size relative to their importance in the eyes of the surrealists with Pacific islands at the centre - Easter Island appears as large as the continent of south America. As Yaëlle Biro points out in her article in Contact Zones: Africa, Oceania, and North America as Sites of Dialogue and Friction Surrealism (p.10) Breton would explain later in the preface to his catalogue Océanie in 1948 the surrealist preference for Oceanic over African arts. The latter he described as realists, anchored in materiality, far removed from Surrealist preoccupations, while the former are spiritual and poignant, with the potential to spark both dreams and desire. In 1931, reputedly due to financial difficulties, Breton and Éluard organised a sale of 'Sculpture d'Afrique, D'Amérique, d'Océanie' at the Hotel Drouot. The sale was planned to coincide with the opening of the Exposition coloniale internationale in Paris. Pacific objects dominated with six lots from Easter Island. Charles Ratton bought the Easter Island rei-miro for 3,500 francs and René Gaffé acquired the two Easter Island moko for 6,200 and 3,800 francs respectively, one of them being the present lot. Ahead of the sale Gaffé had also bought directly from Breton, his uli figure. Yaëlle Biro (op.cit., p.10) points out that Breton, Éluard and other members of the Surrealist movement, were not merely participating in the burgeoning market for non-Western objects in Europe, but were actively shaping it. Their involvement in the market, their large scale selling at auction and influence on the descriptions in auction catalogues, contributed to the dynamism in the market and the shaping of the Western narrative on such works. René Gaffé, a Belgian bibliophile, collector and journalist, had made a fortune in the perfume industry and had formed an important collection of Cubist and Surrealist works by painters such as de Chirico, Braque, Picasso and Miró, as well as important Oceanic and African art. Many of the paintings and other works he acquired through Breton and Éluard who acted as dealers. Gaffé loaned works to the International Surrealist exhibition in London in 1936 and the following June organised two exhibitions at the Zwemmer gallery in London with works from his collection - Joan Miró and Chirico – Picasso. Forty of the exhibited paintings were acquired by Roland Penrose, the artist, historian and poet, for £6,750, a very modest price at the time. For years Gaffé supported Breton and Éluard financially, buying objects for them when they were in need. His debt to them he acknowledged in his A la Verticale: Reflections of a Collector, published in 1963. 'It is, I believe, quite rare for a collector to move, spontaneously, from one school to another out of an appetite for knowledge. It is more natural for someone to point him a direction that could lead him on the path of new discoveries. André Breton and Paul Éluard helped me in this first step. Indeed, they had brought together carefully selected Cubist works with the most moving statues from black Africa and the Pacific. Without much explanation, they led me into an area that was still little explored at the time and revealed to me its truth. Breton had written that it was impossible for him to conceive of a spiritual joy other than as a breath of fresh air! What had immediately impressed me was discovering the science of taste they both shared when encountering objects that conveyed feeling. They never bought anything mediocre and, prodigiously inspired, had succeeded in transforming an apartment, which, without their expertise, would have been banal.' His friendship is clear from a dedication written by Breton: 'To René Gaffé, whose active friendship has never ceased to be of the greatest help to surrealism. August 1, 1932.' Gaffé retired to the south of France in the mid 1950s with his wife, Jeanne where they lived surrounded by their collection. Gaffé sold his important collection of Dadaist and Surrealist books in Paris in 1956. After Gaffé's death in 1968 his wife kept the collection intact until her own death in 2001 when the collection, including the present lot, was sold for the benefit of UNICEF, in accordance with the terms of his will. Moko miro or Moai tangata moko are hybrid beings, half man and half lizard. They are only known in the form of wood carvings and do not appear on petroglyphs or carved on rongo rongo tablets. Michel and Catherine Orliac, writing about moai tangata moko (in Treasures of Easter Island: Collection of the congregation of the Sacred-Hearts of Jesus and Mary SS.CC, Paris, 2008, p.145 ) explain that the term moai moko coined by Routledge is less appropriate than their preferred term, moai tangata moko; moai describing all anthropomorphic and zoomorphic carvings of Easter Island, moko being 'lizard' and tangata referring to human figure which forms the lower body. Their function was reported to Wihelm Geiseler in 1882 as being clubs intended to protect the entrance of houses. According to Alfred Métraux (Ethnology of Easter Island, Honolulu, 1940, p.265) during the inauguration of a house the images of lizard-men were placed on each side of the door to protect the entrance and were also brandished before the enemy (from the next world) to repulse their attacks. Certainly, some of the smaller examples are pierced on the spine for suspension and may hav... For further information on this lot please visit Bonhams.com
JOAN MIRO1893 Barcelona - 1983 Calamajor (Mallorca)'L'EUNUQUE IMPERIAL' Farblithografie auf Arches, Maeght Éditeur, Paris. SM 71 x 55 cm. (R. 98 x 82 cm). Unten rechts mit Bleistift signiert sowie unten links num. '24/50'. Min. gebräunt. Im Passepartout und hinter Glas gerahmt (ungeöffnet). Literatur: Cramer 1023. Provenienz: Rheinische Privatsammlung.
JOAN MIRO1893 Barcelona - 1983 Calamajor (Mallorca)'LES DEUX AMIS' (1969) Aquatintaradierung, Carborundum auf festem Velin, mit Wasserzeichen Maeght, auf Karton. DM 72 x 106 cm, BM 93 x 140 cm. Karton 100 x 144,5 cm. Unten rechts mit Bleistift handsigniert sowie unten links nummeriert '14/75'. Gedruckt und herausgegeben von Atelier Maeght, Saint-Paul-de-Vence. Leicht gebräunt, lichtrandig, an den Rändern part. fleckig, part. mit Griffspuren. Literatur: Dupin 493. Provenienz: Düsseldorfer Privatsammlung.
'MIRO DER LITHOGRAPH I-VI' WERKSVERZEICHNIS VON JOAN MIRO 6 Bände, erschienen bei Werber Genf (1972-1992), Copyright Maeght Paris. Je 33 x 36 x 4,5 cm. Band I: '1930-1952', mit 12 Original-Lithografien, davon ein Umschlag; Band II: '1953-1963', mit 12 Original-Lithografien, davon ein Umschlag; Band III: '1964-1969', mit 5 Original-Lithografien, Umschlag fehlt; Band IV: '1969-1972', mit 6 Original-Lithografien, davon ein Umschlag; Band V: '1972-1975', reines Verzeichnis; Band VI: 1976-1981', reines Verzeichnis. Mit normalen Gebrauchsspuren, Original-Lithografie-Umschlag von Band III fehlt.
JOAN MIRO1893 Barcelona - 1983 Calamajor (Mallorca)'PERSONNAGES AUX ETOILES' (1950) Farblithografie auf Velin, mit Wasserzeichen Vidalon. SM 63,5 x 48,5 cm. (R. 82,5 x 98,5 cm). Unten rechts mit Bleistift signiert und datiert sowie unten links nummeriert '2/75'. Min. gebräunt. min. verlasst, part. min. fleckig, part. min. Knickspuren. Im Passepartout und hinter Rahmen (ungeöffnet). Literatur: Mourlot 95. Provenienz: Südwestfälische Privatsammlung.
JOAN MIRO1893 Barcelona - 1983 Calamajor (Mallorca)'DEBALLAGE II' (1975) Farbaquatinta auf festem Velin, mit Wasserzeichem Maeght, auf Karton. BM 72,2 x 114,5 cm. Karton 76,5 x 117,5 cm. Unten rechts mit Bleistift signiert sowie unten links num. '13/30'. Herausgegeben von Maeght, Paris. Leicht gebräunt, part. mit Griffspuren, part. min. und montagebedingt fleckig, Ränder leicht ber. Literatur: Dupin 765. Provenienz: Düsseldorfer Privatsammlung.
JOAN MIRO (SPANISH 1893-1983) ⊕ LE SCIEUR DE LONGsigned Miró lower right; numbered 14/75 lower leftetching, aquatint and carborundum in colours on Mandeure rag paper76.4 x 57.2cm; 30 1/4 x 22 1/2in 103 x 82.5cm; 40 1/2 x 32 1/2in (framed)Property of a Lady, BelgraviaLiteratureJacques Dupin, Miro Engraver II: Catalogue Raisonné of Engravings (1961-1973), Paris, 1989, no. 458Executed in 1968 and published by Maeght éditeur, Paris. Miró began his carborundum prints in the late 1960s, which Murray Macaulay describes as ‘the culmination and final development of his graphic work’. They involved a type of engraving, in which an abrasive ground known as carborundum (silicon carbide) was mixed with a binding agent and applied to a printing plate. The final prints - such as the present example - have a velvety, granulated surface, and are not only monumental in sheer scale, but also by their brilliance and depth of field achieved through their textured appearance.Joan Miró has been described as a 'painter-poet', his works adopting a unique visual vocabulary of inverted metaphors, undiluted primary colours, and rhythmic linearity. Earning international acclaim, Miró is notable for his interest in the potential of the subconscious mind, reflected in the jovial, biomorphic lines and forms that populate his compositions. Although often pigeonholed as a Surrealist, Miró considered his art to be free of any 'ism'. He experimented feverishly throughout his career with different media - painting, pastel, printmaking, sculpture, ceramics, collage, muralism, and tapestry - and unconventional materials as a way of making work that expressed the moment.
A collection of framed predominantly prints and a painting. Framed watercolour depicts a winter village and is signed lower right, but is unclear. A Fantastic Beasts Muggle Worthy print. A Joan Miro print. An oval framed picture depicting Royal Sappers and Miners 1855, signed by Laverock, and similar. Largest is 49.5 cm x 39.5 cm, image size. (This does not constitute a guarantee) (M) PLEASE NOTE: ALL LOTS NEED TO BE COLLECTED OR DESPACTHED BY 12TH DECEMBER DUE TO THE HOLIDAY PERIOD.
Joan Miro(Barcelona 1893–1983 Mallorca)"La lutte rituelle". 1964. Farblithographie. 70/75. Unten rechts in Bleistift signiert. Blattgrösse 61x90 cm. Gerahmt.- Blatt gebräunt, etwas fleckig und mit wenigen Knittern. Hellerer Lichtrand. Ränder und Ecken minimst bestossen. Verso am oberen Rand komplett an Passepartout montiert.
Joan Miro(Barcelona 1893–1983 Mallorca)"La traversée du miroir". Aus: "Derrière le Miroir, no. 139-140". 1963. Farblithographie. H.C. Unten rechts in Bleistift signiert. Blattgrösse 60x90 cm. Gerahmt.- Blatt gebräunt, wenig fleckig und etwas Knitter. Hellerer Lichtrand. Ränder und Ecken minimst bestossen. Verso am oberen Rand komplett an Passepartout montiert.
Joan Miro(Barcelona 1893–1983 Mallorca)"La Longue et L'Évaporée". 1973. Farbaquatintaradierung. 31/50. Unten rechts in Bleistift signiert. Blattgrösse 92x63 cm. Gerahmt.- Blatt gebräunt, wenig fleckig und leicht gewellt. Heller Lichtrand. Ränder und Ecken leicht bestossen. Verso gebräunt. Verso am oberen Rand komplett an Passepartout montiert.
Verve.: No. 1 (franz. Ausgabe). Paris 1937. Fol. Mit 4 Farblithogr. u. zahlr., tls. farb. Taf. u. Abb. 112 S. Farb. illustr. Okart. (Etw. berieb. u. best.). Die Farblithographien mit einer Folge der vier Elemente: Wasser nach Leger, Luft nach Miro, Feuer nach Rattner u. Erde nach Bores. - Bindung gelockert, vereinzelt etw. fleckig.
Leiris,M.: Joan Miro. Litografo I. Barcelona, Ed. Poligrafa 1972. Gr.4°. Mit 12 (inkl. Umschl.) tls. dplblgr. Orig.-Farblithogr. von J.Miro u. zahlr., meist farb. Abb. 231 S., 4 Bl. Olwd. mit farb. illustr. OU. (Dieser mit schwachen Gebrauchssp.). Spanische Ausg. - ╔Dabei: Calas,N. u. E.╗ Joan Miro. Der Lithograph IV (1969-1972). Genf, Weber 1982. 4°. Mit 6 (inkl. Umschl.) Orig.-Farblithogr. v. J.Miro u. zahlr., meist farb. Abb. 208 S. Olwd. mit farb. illustr. OU. - Zus. 2 Bde.
Alberti,R.: Maravillas con variaciones acrosticas en el jardin de Miro. Lithografias de Joan Miro. Barcelona, Ediciones Poligrafa 1975. Fol. Mit 17 (statt 22), davon 9 dplblgr. Farblithographien, davon 2 auf Lwd. für die Kassette und die Mappe, 15 Bll. mit d. Namenszug im Stein. Lose in farb. illustr. Olwd.-Mappe in farb. illustr. Olwd.-Kassette (le. berieb.). - Innen meist sauberes Ex. Die Lithographien jew. verso von fremder Hand mit Bleistift num. Wohl eines von 1500 numer. Exemplaren der Buchausgabe auf Guarro. Inkomplettes Ex. ohne dem num. u. sign. Druckvermerk, sowie zahlreichen weiteren Seiten.
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. An unusual vintage signed and inscribed colour picture postcard by Picasso, the image, entitled Joies et plaisirs de la Cote-d´Azur, being a photomontage of a blonde pin-up girl wearing a bikini and sitting in a full-length pose with her legs outstretched on a diving board against a backdrop of the bay of Cannes featuring palm trees, golden sandy beaches and hotels etc. Signed by Picasso in bold blue fountain pen ink to a light area of the image, ´Pour Raoul Pellequer, son ami, Picasso´. The verso of the postcard features an A.L.S., Max, by Max Pellequer, n.p. (Cannes), 1st February 1959, to his brother Max, in French. Pellequer writes, in full, ´C´est Picasso qui a voulu choisir cette carte pour toi. C´est la raison pour laquelle je te l´envoie avec mes plus effectues pensees et mes regrets de ne pas vous avoir aupres de nous dans ce pays si plein de bons souvenirs qui a aussi invente la bouillabaisse, que nous avons degustee malheureusement sans vous´ (Translation: ´It was Picasso who chose this card for you. That's why I'm sending it to you with my deepest thoughts and my regrets at not having you with us in this country so full of good memories, which also invented the bouillabaisse, which unfortunately we tasted without you´). The letter is also signed (with their first names) by Francine Pellequer, Jacqueline Roque, the French model, muse and second wife of Picasso, and also by Pablo Picasso himself with a bold black ink signature (´Picasso´). An attractive example of Picasso´s autograph, enhanced by a letter with interesting association. 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.
CHAR RENE: (1907-1988) French poet and a member of the French Resistance during World War II. A good war date manuscript D.S., Rene Char, Alexandre, one page, 4to, Avignon, 15th February 1945, on the attractive printed stationery of the Forces Francaises Combattantes, in French. The document, entirely in Char´s hand, is an attestation issued in his capacity as Deputy Regional Head of the Parachute Landing Section Region 2 (1943-1944) and Departmental Inspector of the United Resistance Movements, and certfies that Andre and Henriette Gomes ´ont des octobre 1940 participe avec le plus grand courage et un total desinteressement a la premiere resistance contre les Allemands et les Italiens´ (Translation: ´have since October 1940 participated with the greatest courage and total dedication in the first resistance against the Germans and Italians´) and that ´Durant quatre ans ils n´ont jamais cesse de se rendre utiles et de servir la cause de la Liberation. Dans les conditions parfois les plus difficiles, ils ont rempli au mieux les missions qui leur ont ete confiees´ (Translation: ´For four years they never ceased to be useful and to serve the cause of the Liberation. Sometimes in the most difficult conditions, they carried out the missions entrusted to them to the best of their ability´). Signed by Char at the conclusion, also adding his alias (´Alexandre´) beneath his signature, alongside an official circular rubber stamp. Some light age wear, a few minor tears to the edges, and a couple of extremely small holes at the intersection of two folds, about VGAndre Gomes, a photographer, and his wife Henriette, were close friends of many prominent artists during the 1930s, including Pablo Picasso, Marcel Duchamp and Joan Miro. Henriette opened an art gallery in Paris in 1938, however, being Jewish they were forced to flee Paris during the Nazi occupation, and her gallery was seized as Jewish property. They ended up in Marseille in 1940, where they joined the Surrealists at the Villa Air-Bel, and both Andre and Henriette became active in the French Resistance. The Galerie Henriette was re-opened at 6 rue du Cirque, Paris, in 1949-50.
MIRO JOAN: (1893-1983) Spanish painter. An excellent, lengthy and early A.L.S., Miro, three pages, 4to, Barcelona, 7th April 1934, to [Christian] Zervos, in French. Miro states that he has received his correspondent's letter, article and photograph, explaining that he did not answer sooner 'parce que j'ai du me rendrer a Montrois pour verifier d'apres le dessins.....les dates exactes, et vous donner de la facon la plus exacte possible, les renseignments que vous m'aviez demande a Paris' (Translation: 'because I had to go to Montrois to check according to the drawings….the exact dates, and to give you in the most exact way possible, the information that you had asked me for in Paris') and continuing to write concerning Zervos's article, and offering some advice, 'Votre article est tres, tres bien, vous avez tres bien compris mes inquietudes, il est en meme temps ecrit avec un grand courage. Je l'ai lu maintes fois attentivement et en suis tres emu. Vous en remercie de tout Coeur. Il faudrait toutefois rectifer, quelques dates, il m'etait tres difficile de les preciser lors de notre entretien chez vous. J'estime que ces donnees doivent etre tres exacter, d'autant plus qu'elles seront repandues a l'etranger, ou l'on se servira de ce numero de "Cahiers d'Art" lorsque l'on voudra ecrire quelque chose d'important sur moi. a) J'ai commence l'etude de la peinture a l'age de 14 ans, mon premier professeur a ete Urgell, et plus tard Pasco. b) Je cesse de peindre de 1910 a 1912 - a partir de cette date je m'adonne entierement a la peinture et frequente a Barcelone certaines academies etc. et passe mes vacances a Montrois, je frequente les academies jusqu'a 1914, et desormais je travaillerai seul. c) arrive a Paris pour le premiere fois en mars 1919, et c'est a partir de cette date que je travaille tantot a Barcelone tantot a Montrois, tantot a Paris. d) qouique la plupart de reproductions n'auront pas de titre, il ne faudrait cependant pas negliger d'en mettre a celles que vous citez dans votre article et aux plus representatives pour mieux le comprendre. e) ces tableaux ont ete faits l'hiver et le printemps 1933. f) Je trouve aussi que c'est mieux que vous supprimiez ce passage. Comme vous voyez toutes les rectifications sont tres necessaires et tres importantes, je vous demande de faire l'impossible pour y etre a temps' (Translation: 'Your article is very, very good, you have understood my concerns very well, it is at the same time written with great courage. I have read it carefully many times and am very moved by it. Thank you wholeheartedly. However, it would be necessary to rectify a few dates, it was very difficult for me to specify them during our interview with you. I consider that this information must be very exact, especially since they will be spread abroad, where people will use this number of “Cahiers d'Art” when they want to write something important about me. a) I started studying painting at the age of 14, my first teacher was Urgell, and later Pasco. b) I stop painting from 1910 to 1912 - from this date I devote myself entirely to painting and attend certain academies etc. in Barcelona and spend my holidays in Montrois. I attended the academies until 1914 and from then on I would work alone. c) arrived in Paris for the first time in March 1919, and it was from this date that I worked sometimes in Barcelona, sometimes in Montrois, sometimes in Paris. d) although most of the reproductions will not have a title, you should not neglect to put one to those you quote in your article and to the most representative ones to better understand it. e) these paintings were made in the winter and spring of 1933. f) I also think it is better that you delete this passage. As you see all the corrections are very necessary and very important, I ask you to do the impossible to there in time'). Miro also asks his correspondent if they have decided to go ahead with an exhibition, and to let him know the exact date of the opening as soon as they know it, and further enquiring if invitations will be sent, in which case Miro will provide some addresses, additionally writing 'J'ai reflechi a ce que votre femme me demande d'apporter de nouveaux tableaux. Il me semble que cette nouvelle serie faudrait la montrer ensemble, ce serait une erreur que d'en exposer quelques specimens au prealable. Ce qui serait peut-etre tres bien, ce que, du moment ou "Cahiers d'Art" est consacre a toute mon oeuvre, vous exposiez aussi, dans une piece a part quelques toiles anciennes. En etant fait simultanement a l'apparition de "Cahiers d'Art" cela n'aura nullement l'air d'une retrospective, qu'il faut a tout prix eviter.......ca restera tres intime et n'aura pas l'air pretentieux d'une exposition rue de la Boetie. Et suivrait en meme temps la trajectoire qui se termine en 1933' (Translation: 'I thought about your wife asking me to bring new paintings. It seems to me that this new series should be shown together, it would be a mistake to exhibit a few specimens beforehand. What would perhaps be very good, since “Cahiers d'Art” is devoted to all my work, you also exhibit, in a separate room, a few old paintings. By being done simultaneously with the appearance of “Cahiers d'Art” it will in no way seem like a retrospective, which must be avoided at all costs….it will remain very intimate and will not have the pretentious air of an exhibition on rue de la Boetie. And at the same time it would follow the trajectory which ends in 1933'). Miro concludes by asking if Zervos has seen Pierre Matisse, explaining 'Je lui ai ecrit deux lettres en reponse a la sienne ou'il me faisait part de l'accord avec [Henri] Matisse et il ne m'a point repondu. Je lui demandais s'il m'autorisait a ecrire a Matisse pour lui demander de s'entendre avec lui pour les mensualites de maniere a ce que ce fut Pierre qui ces versat en toute sa totalite. Je crois que du moment ou Pierre est, pour ainsi dire, le marchand officiel, pourrait trouver des moyens pour regler les mensualites…..' (Translation: 'I wrote him two letters in response to his where he informed me of the agreement with [Henri] Matisse and he did not answer me. I asked him if he would authorise me to write to Matisse to ask him to come to an agreement with him for the monthly payments so that it was Pierre who would pay them in full. I believe that since Pierre is, so to speak, the official merchant, he could find ways to settle the monthly payments….'). A letter of fine content. Some very light, extremely minor age wear, VGChristian Zervos (1889-1970) Greek-French art historian, critic, collector, writer and publisher who founded the magazine Cahiers d'art and also ran an art gallery.Pierre Matisse (1900-1989) French-American art dealer, the youngest child of Henri Matisse. The Pierre Matisse Gallery was opened in New York in 1931 and represented many European artists including Miro, Marc Chagall, Alberto Giacometti and Jean Dubuffet amongst others.
PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. A.L.S., Picasso, one page, 4to, Vallauris (Cote d´Azur), 2nd May 1950, to Max [Pellequer] (´Mon cher Max´), in French. Picasso, in the second letter of the day that he has written to Pellequer, states ´Je viens de recevoir les recus des cheques envoyes a ces messieurs des contributions. Je vous les envoi. Il fait un temps d´ete. Je travaille´ (Translation: ´I've just received the receipts for the cheques sent to these gentlemen from the tax department. I am sending them to you. The weather is summery. I am working´). 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.
A GROUP OF ART REFERENCE BOOKS (1) Including Henri Matisse, Gilles Néret, Taschen, 2002 Henri Matisse, Susan A. Sternau, Todtri. 1997 Joan Miro, Rosa Maria Mallet, Rizzoli, 1984 Paintings of the Western World - Post Impressionism, Ian Barras Hill, Galley Press, 1980 Master Drawings Rediscovered - Treasures from Pre War German Collections, Tatiana Ilatovskaya, 1996 Christie's Paris - Collection of Claude et Simone Dray (Art Deco), 8th June 2006 Antoni Gaudi - 1852-1926, Rainer Zerbst, Taschen 1993 Frank Stella in 20002, Singapore Tyler Print Institute, 2002 Pop Art, Tilman Osterwold, Taschen, 2007 Kandinsky, Ulrike Becks-Malorny Taschen, 2007 Chillida, Giovanni Carandente, Könemann, 1999 Joan Mitchell, Klaus Kertess, Abrams, ,1997 David Hamilton - Twenty Five Years of an Artist, L'Ariana Pictures Sarl, 1992 John Sexton - Quiet Light - Fifteen Years of Photographs, Bulfinch, 1990 Picasso - The Early Years, 1892-1906, National Gallery of Art, Washington, Yale, 1997 Pablo Picasso - 1881-1973, Part 1 The Works 1890-1936, Carsten-Peter Warncke, Ingo F. Walther, Taschen, 1997 (16 in total) Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
Hernan Bas (Miami, Florida 1978 – lebt in Miami, Florida). Pompeii I. 2005Acryl, Grafit, Aquarell und plastische Masse auf Papier. 37,5 × 38,3 cm (14 ¾ × 15 ⅛ in.). Auf der Rückpappe mit einem Etikett der Victoria Miro Gallery, London.[3236] Gerahmt. Provenienz: Privatsammlung, Belgien (in der Victoria Miro Gallery, London, erworben)Wir berechnen auf den Hammerpreis 32% Aufgeld.
Min WARDMAN (1951-2024) Abstract With Leaf Motif Oil on canvas, studio stamp verso, 38.5cm x 12cmMin Wardman (1951-2024) Artist - Feminist - Gardener Min was born in Yorkshire in 1951, her mother an artist, father a civil engineer. After a comprehensive education she was awarded an opportunity to study art in Birmingham, followed by postgraduate studies in both History of Art and Painting in London. After graduating, Min found the London party scene not to her taste, finding it too difficult to be taken seriously as a female painter. At the time, Devon was developing a Community College and it is here that Min worked, developing Textile and Print-making 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 and motifs were often found within her work. Landscape is a near constant: there are stone monuments, myths and legends, birds and plants and others which pass in and out of her work. Favourite artists included Miro for block colour, Manrique for art and community planning and Picasso for returning to images and perseverence and 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) Poetry Oil on canvas, studio stamp verso, 25cm x 25cm, 28.5cm x 28.5cm framed.Min Wardman (1951-2024) Artist - Feminist - Gardener Min was born in Yorkshire in 1951, her mother an artist, father a civil engineer. After a comprehensive education she was awarded an opportunity to study art in Birmingham, followed by postgraduate studies in both History of Art and Painting in London. After graduating, Min found the London party scene not to her taste, finding it too difficult to be taken seriously as a female painter. At the time, Devon was developing a Community College and it is here that Min worked, developing Textile and Print-making 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 and motifs were often found within her work. Landscape is a near constant: there are stone monuments, myths and legends, birds and plants and others which pass in and out of her work. Favourite artists included Miro for block colour, Manrique for art and community planning and Picasso for returning to images and perseverence and 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 Two mixed media collages framed as one, studio stamp verso, each 15cm x 21cm, 51cm x 40cm framed.Min Wardman (1951-2024) Artist - Feminist - Gardener Min was born in Yorkshire in 1951, her mother an artist, father a civil engineer. After a comprehensive education she was awarded an opportunity to study art in Birmingham, followed by postgraduate studies in both History of Art and Painting in London. After graduating, Min found the London party scene not to her taste, finding it too difficult to be taken seriously as a female painter. At the time, Devon was developing a Community College and it is here that Min worked, developing Textile and Print-making 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 and motifs were often found within her work. Landscape is a near constant: there are stone monuments, myths and legends, birds and plants and others which pass in and out of her work. Favourite artists included Miro for block colour, Manrique for art and community planning and Picasso for returning to images and perseverence and 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...'
JAMES MORRISON MCCHLERY (SCOTTISH 1924 - 1969), TREE LINED AVENUE ink on paper, signed and dated 1952mounted, framed and under glass overall size 35cm x 46cm 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), TWO WATERCOLOURS both watercolours on paper, both signedboth mounted and unframedoverall size 41cm x 51cm each Qty: 2Note: 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
Iliazd Rogelio Lacourière pêcheur de cuivres - Pablo Picasso, Aux quatre coins de la pièce. Paris, Le Degré Quarante et Un 1968. • Wunderschönes Pariser Künstlerbuch • Seltene Luxusedition • Sehr persönliche Hommage an Rogelio Lacourière • Mit zahlreichen Künstlersignaturen Originalausgabe des seltenen künstlerischen Gemeinschaftsprojektes, das zu Ehren des Druckers Rogelio Lacourière erschien. Dieser war zwei Jahre zuvor verstorben; in seinem Pariser Atelier entstanden 30 Jahre lang die wichtigsten Malerbücher und modernen Graphikeditionen dieser Zeit. Die vorliegende Luxuspublikation wurde von Iliazd initiiert, sie enthält Beiträge von André Beaudin, Camille Bryen, Andre Derain, Andre Dunoyer de Segonzac, Max Ernst, Alberto Giacometti, Alberto Magnelli, Louis Marcoussis, André Masson, Joan Miró, Pascin, Pablo Picasso und Leopold Survage. Signiert wurde das Buch von sämtlichen 9 Künstlern, die zum Zeitpunkt der Veröffentlichung dieses ungewöhnlichen Projektes noch lebten, also von André Beaudin, Camille Bryen, Andre Dunoyer de Segonzac, Max Ernst, Alberto Magnelli, Andre Masson, Joan Miro, Pablo Picasso und Leopold Survage. Picasso steuerte neben seines eigens verfaßten Gedichts auch eine ungewöhnliche Radierung bei. 'Picasso's surprising drypoint is a brilliant and brutal image, uncharacteristic in its violent sexualitiy and rough expressionistic line.' (Robert F. Johnson in der Logan Coll.) EINBAND: Lose Lagen und Tafeln in blau-weißem Orig.-Pergamentumschlag mit typographischem Deckeltitel in Rotbraun, in Orig.-Leinendecke und -schuber. 26 : 32 cm. - ILLUSTRATION: Mit 13 Orig.-Radierungen von P. Picasso, J. Miró, M. Ernst, A. Giacometti u. a. - PROVENIENZ: Privatsammlung Baden-Württemberg. LITERATUR: Logan Coll. 89. - Splendid Pages (Bareiss Coll.) S. 75f. und 205. - Monod 6251. - Drucker (Iliazd) S. 224ff. - Goeppert/Cramer (Picasso) 141. - Cramer (Miro) 120. - Saphire/Cramer (Masson) 77. - Beautiful Parisian artist book, a very personal tribute to Rogelio Lacourière. - This rare luxury edition is signed by most of the artists. First edition. 1 of 50 numb. copies. 13 orig. etchings by A. Giacometti, P. Picasso, J. Miro, M. Ernst and others. - Loose quires and plates in light blue orig. vellum cover with typographic cover title in red-brown, in orig. cloth cover and slipcase. Fine copy from a private collection. Vollständige Beschreibung und Zustandsbericht https://www.ketterer-rarebooks.de/kunst/kd/details.php?detail=1&anummer=559&obnr=423000764 Dieses Objekt wird regelbesteuert angeboten (R). Complete description and condition report https://www.ketterer-rarebooks.com/details-e.php?detail=1&anummer=559&obnr=423000764 This lot can only be purchased subject to regular taxation (R).
MIRO, JOAN, 1893-1983, (NACH) "Cartones" 1965 Lithographie/Pochoir, in der Platte signiert, Ex.1300/2000, Ex. 756/2000, Ex. 1151/2000, Maße: 32,5 X 23 cm, gerahmt.| MIRO, JOAN, 1893-1983, (AFTER) "Cartones" 1965Lithograph/pochoir, signed in the plate, Ex.1300/2000, Ex. 756/2000, Ex. 1151/2000, dimensions: 32.5 X 23 cm, framed.
Loading...