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Click here to subscribeHernan 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.
JOAN MIRO (SPANISH, 1893-1983)Lucifer signed and numbered 'Miro 24/75' (in lower margin) lithograph 77 x 56cm ARR Provenance Alley Gallery; Private collection, UKCondition reportThe sheet is sound, good condition overall, no discolouration or fading. Framed and under glass; unexamined out of frame.
JEAN VARDA (TURKISH/AMERICAN, 1893-1971)Fish in underwater scene signed 'J. Varda' (lower right) and inscribed 'No. 10' (to backboard) mixed media collage on board 40 x 49.5cm ARR Provenance Private collection, UKFootnoteJean 'Yanko' Varda was a Turkish born American artist of mixed Greek and French descent. At the age of 19 he moved to Paris where he met Picasso and Braque, before moving to London during the First world War, becoming a ballet dancer, and then returning to Paris by 1922. He subsequently spent many summers in Cassis in the South of France, sharing Roland Penrose's home Villa Les Mimosas, where they hosted many creative guests including Braque, Miro, Derain, Max Ernst, Roger Fry, Duncan Grant and others. He spent most of his winters in this period in London.During the 1930s Varda developed a type of mosaic using pieces of broken mirrors, which he would scratch and then paint in bright colours. He exhibited work in London and Paris and, once he had moved to The United States in 1939, in New York, at the Neumann-Willard Gallery. He later moved from New York to Big Sur and Monterey, his home in the latter becoming a haven for artists and writers during the Second World War. In the 1940s Varda developed his style, moving from mosaics to collage, usually combining scraps of cloth and paper with paint on board. In the late 1940s Varda and the British artist Gordon Onslow Ford acquired an old ferry boat, the Vallejo, permanently mooring it in Sausalito, across the Golden Gate Bridge from San Francisco, and adapting it for their artist's studios and also providing living quarters. Varda continued to create art, mostly collages, throughout his life before he died in 1971 from a heart attack in Mexico City.
JEAN VARDA (TURKISH/AMERICAN, 1893-1971)Spanish dancers in an abstract landscape signed 'J. Varda' (lower right) and inscribed 'No. 16' (to backboard) mixed media collage on board 53 x 73cm together with a ring-bound file with information on the artist compiled by the vendor ARR Provenance Private collection, UKFootnoteJean 'Yanko' Varda was a Turkish born American artist of mixed Greek and French descent. At the age of 19 he moved to Paris where he met Picasso and Braque, before moving to London during the First world War, becoming a ballet dancer, and then returning to Paris by 1922. He subsequently spent many summers in Cassis in the South of France, sharing Roland Penrose's home Villa Les Mimosas, where they hosted many creative guests including Braque, Miro, Derain, Max Ernst, Roger Fry, Duncan Grant and others. He spent most of his winters in this period in London.During the 1930s Varda developed a type of mosaic using pieces of broken mirrors, which he would scratch and then paint in bright colours. He exhibited work in London and Paris and, once he had moved to The United States in 1939, in New York, at the Neumann-Willard Gallery. He later moved from New York to Big Sur and Monterey, his home in the latter becoming a haven for artists and writers during the Second World War. In the 1940s Varda developed his style, moving from mosaics to collage, usually combining scraps of cloth and paper with paint on board. In the late 1940s Varda and the British artist Gordon Onslow Ford acquired an old ferry boat, the Vallejo, permanently mooring it in Sausalito, across the Golden Gate Bridge from San Francisco, and adapting it for their artist's studios and also providing living quarters. Varda continued to create art, mostly collages, throughout his life before he died in 1971 from a heart attack in Mexico City.
Joan Miró, Spanish 1893-1983,Graveur IV, 1983;lithograph in colours on wove, with stamped signature, numbered 39/100 in pencil, inscribed 'gravure originale, certifie authentique par la succession Miro- Emilio F. Miro', with his signature in pencil (on the reverse), sheet: 50 x 64 cm, (unframed)(ARR)
NEW WAVE AND POWER POP 7" COLLECTION - a collection of 28 New Wave and Power Pop 7"s. Collection to include: Marine Girls - On My Mind c/w The Lure Of The Rockpools - In Phaze Records (COD 2), Orange Juice - Blue Boy c/w Love Sick - Postcard Records Of Scotland (Postcard 80) - Lean Period c/w Bury My Head In My Hands - Polydor (OJ7) - L.O.V.E... Love - Rip It Up - I Can't Help Myself, The Pop Group, The Normal, Roll-Ups, The No Entry Band, Pink Military Stand Alone, Scritti Politti, Speed-O-Meteors, The Boys, Steve Miro & The Eyes, Hybrid Kids, 2-3, Hardware, Slime, Neon Hearts, Black Parrot Seaside And The Exploding Sheep, The 101'ers, The Rivvits, Maneaters, The Paranoids, The Boyfriends, Honey Bane, The Only Ones. The collection is generally in VG to Ex+ condition.
Miró, Joan (1893-1983) "Derrière le Miroir - No 193/194", eine Farblithografie, aus dem Heft gelöst und gerahmt. Die Künstler-Edition "Derrière le Miroir" (dt. hinter dem Spiegel) wurde von dem renommierten Pariser Galeristen- und Verlegerpaar Aimé und Marguerite Maeght im Zeitraum 1946 bis 1982 herausgegeben. Die Edition versammelte über die Jahre die größten Künstler ihrer Zeit - Joan Miro, Marc Chagall, Pablo Picasso, Georges Braque, Fernand Léger, Alberto Giacometti, Eduardo Chillida, Antoni Tàpies, Jean Arp usw. Passepartout; Rahmen 49 x 39 cm.Standort: Engen
Rock und Pop - - Bravear magazine. Nr. 1-16 (vols. 1-3, alles Erschienene). Mit zahlreichen, teils doppelseitigen Abbildungen. Bravear, Hayward, (Michael Miro Publisher) 1982-1987. 25 x 17,5 cm bis 28 x 21,5 cm. Illustrierte Original-Broschuren (teils leicht berieben).Vollständige Ausgabe dieses seltenen Punk Zine ("magazine for moderns") aus der Gegend von San Francisco mit Berichten über lokale und nationale Punk- und New-Wave-Acts. - Herausgegeben von Michael Macdonald, Rory Lions, Lorry Fleming. - Mit Berichten über: Jam, Clash, Passion Kick, English Beat, Audium, Amgst, Jello Biafra, Juliam Cope, Ian MacKaye, Durutti Column, Screaming Trees, Troslu Icepick, Dwarves, Kydia Lunch, The Fall, The Egyptians, Ferret, The Damned, Fetchin Bones, Minute Menn, Poison Girls, Cat Heads, Camper van Beethoven, Flaming Lips, Golden Dawn, Eagmer, Dead Kennedys, Billy Bragg, Aslovenly, Sisters of Mercy, Lenny Bruce, Kohn Cage, UB40, Green on Red, Stranglers, U2, Toxic Reasons, T.S.O.L., William Burroughs, Buch Teras, New Californians, Mutans, Articles of Faith, Table Tips u.a. - Innen tadellos.
Sammlung von 15 Ausstellungsplakaten. 1957-1989. Blattmaße: von 28,5 x 40 cm bis 88 x 63 cm.Darunter die Plakate zu den Ausstellungen: I. Kandinsky, Paris, Galerie Maeght, um 1965. Blattmaße: 72 x 45,5 cm. - II. Miró, Joan. A toute épreuve. Galerie Berggrün in Paris 1958. Blattmaße: 52 x 38,5 cm. - III. Miro. Céramiques Monumentales. Paris, Galerie Maeght 1963. Blattmaße: 67 x 50 cm. - IV. Picasso. Peintures 1955-1567. Paris, Louise Leiris, 1957. Blattmaße: 73 x 53,5 cm. - V. Georges Braque. Papier collés 1912-1914. Paris, Galerie Maeght, 1958. Blattmaße: 86 x 34 cm. - VI. Palazuela. Paris, Galerie Maeght, 1963. Blattmaße: 64 x 42 cm. - VII. John Heartfield. Wartet nur Balde. Fotomontagen. Club Voltaire. Frankfurt, Karmeliter Kloster, 1967. Blattmaße: 84 x 59 cm. - VIII. DADA siegt!. Köln, Kölnischer Kunstverein, 1975. Blattmaße: 28,5 x 40 cm. - IX. 5 Peintres et 1 Sculpteur. Amable, Capdeville, Fromanger, Garche, Matieu, Gardy-Artigas. - Paris, Maeght, 1965. Blattmaße: 66 x 47,5 cm. - X.-XI. Horst Janssen. 2 Plakate. Stuttgart, Kunstverein, 1966 und München, Ketterer, 1967. Blattmaße: 84,5 x 60 cm bzw. 88 x 63 cm. - XII. Brokes, Alan. Unlimited Appearence The Paris-Brest Sextet Mischa Goss Conductor Philharmonic Hall. 1969. Blattmaße: 75 x 54,5 cm. - XIV. Um 1930. Bauten, Möbel, Geräte, Palakte, Fotos. München, Neue Sammlung, 1969. Blattmaße: 84 x 59 cm. - XV. Guggenheim. Berlin, Nationalgalerie, 1989. Blattmaße: 84 x 59 cm. - Vereinzelt knickspurig bzw. mit kleinen Randeinrissen, meist aber sehr gut erhalten. - Provenienz: Sammlung Helmut Anton und Margot Krätz.
Derrière le miroir. 16 Hefte der Reihe. Mit einigen Original-Graphiken und Abbildungen. Paris, Maeght, 1961-1968. 38 x 28 cm. Original-Broschuren (vereinzelt leicht gebräunt und mninimal fleckig).Vorhanden sind die Nummern: 127: Giacometti. Mit 14 Lithographien. - 137: Palazueo. Mit 2 Lithographien. - 138: Georges Braque. Mit 2 Lithographien. - 139-140: Miro. Mit 6 Lithographien. - 141. Calder. Mit 8 Lithographien. - 142. Ubac. Mit 8 Lithographien. - 143: Chillida. Mit 4 Lithographien. - 144-146. Hommage a Georges Braque. Mit 5 Lithographien. - 147: Chagall. Mit 3 Lithographien. - 148: La Fondation Maeght. Mit 6 Lithographien. - 149. Kelly. Mit 6 Lithographien. - 150: 5 Peintes et 1 Sculpteur. Mit 8 Lithographien. - 151-152: Miro. Mit 25 Lithographien. - 153. Tal-Caot. Mit 7 Lithographien. - 154: Kandinsky. Bauhaus Dessau. - 175: Tapies. Mit 8 Lithographien.- Mit meist farbigen Original-Lithographien von Joan Miró, Marc Chagall, Ellsworth Kelly, Raoul Ubac, Georges Braque, Alberto Giacometti, Jean Bazaine, Eduardo Chillida, Pablo Palazuelo, Pierre Tal-Coat, A. Tapies Francois Fiedler u.a. - Heft 149 zu Beginn mit Eckknickspur, sonst sehr gut erhalten. - Provenienz: Sammlung Helmut Anton und Margot Krätz.
Vinyl - 60 Post Punk / New Wave / DIY Punk UK pressing 7” singles from the late 1970’s and early 1980’s including many private pressings and promos, to include: Blah Blah Blah, Boys Will Be Boys, The Yobs, Glass Torpedos, The Astro’s, Ed banger, Minny Pops (Factory), Kevin Hewick (Factory), The Martian Schoolgirls, The No Entry band, Steve Miro & The Eyes, The Klones, The Gist, 48 Chairs, Fun House, Nico, Penny & The Rims, One Hand Clapping, No Sweat and many more. Condition VG+ overall
Vinyl - Over 120 Post Punk / New Wave LPs by UK artists to include The Cure, Native Hipsters, 39 Clocks, Steve Miro & The Eyes, Fire Engines, Magazine x 2, Mekons x 2, A Certain Ratio, Robyn Hitchcock x 2, Pink Industry x 2, Pete Shelley, Squeeze x 6, Ian Dury x 2, The Doll, The Passions x 2, The Decorators, Deaf School, The Dance, Artery x 2, Reckless Eric x 3 (inc 10"), The Jags, Interview, Eddie & The Hot Rods (2 LPs and 1 12"), Dr Feelgood x 2, The Distractions, Altered Images, Fingerprintz, Wah! x 2, The Very Things, The Yachts x 2, Pauline Murray & The Invisible Girls and more. Vg+ overall
A collection of 20th century ballet and art reference books and programmes. The lot to include 1930s International Celebrity Subcription Concerts programme, 1926 Artwork - The International Quarterly of Arts & Crafts ed. Herbert Wauthier No. 7, 1962-63 The Australian Ballet programme dir. Peggy van Praagh, 1938 Russian Ballet programme at the Royal Opera House Covent Garden w tipped in colour illustrations of costume and scenery by Nathalie Gontcharova, Pierre Roy, Joan Miro and Jean Hugo; and Art in Modern Ballet by George Amberg (tattered dw loose but present in book). An interesting collection of ballet ephemera. 4to.
Charles Biederman, born Karel Joseph Biederman (American, 1906-2004). Painted wood wall sculpture titled "Work No. 10, USA, 1937" depicting slats of orange, yellow, and blue against a white background, 1937. With a label from IVAM Centre Julio Gonzalez affixed to the verso. Impressed "[Copyright] Charles Biederman No.10, Paris, 1937,1983" 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; Estate of Mary Abbott.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.Height: 33 1/2 in x width: 29 in x depth: 5 in.Condition: There are no major losses, breaks, or repairs. Minute losses to the lowest blue platform along the lower extending edge. Light dust gathered along the platforms throughout.
Livio Seguso (Italian, b. 1930). Abstract Murano glass sculpture in the form of a large clear disk featuring three suspended orbs of applied glass decoration in red, blue, and amber, reminiscent of figures depicted in the work of Joan Miro, ca. 1960s. Surmounted atop an integral pale blue base. Etched signature and "Murano" along the underside.Seguso collaborated with numerous iconic glass artists at Salviati, a premier Murano glass studio during 20th century, including Luciano Gaspari (Italian, 1913-2007), whose work this lot closely resembles.Height: 13 1/2 in x width: 13 in x depth: 3 1/4 in.Condition: There are no chips, cracks, losses, or restorations. Some light scratches along the upper edge of the sculpture. Light wear to the footrim.
Joan Miró (1893-1983), ''Femme entourée d'oiseaux'', Tuschpinselzeichnung auf kartoniertem Umschlag, u. re. handsign. ''Miro'', verso betitelt und datiert ''2.V.80'', sowie Adressetikett der Galerie Beyeler in Basel mit der mallorquinischen Adresse Mirós, Rand unregelmäßig, 45 x 29 cm, lose hinter Glas in aufwendigem Rahmen 82 x 67 cm, aus mallorquinischer Privatsammlung.
Graphikkonvolut mit 31 Arbeiten, u.a. Joan Miro, Pablo Picasso, Wilhelm Loth, Walter StöhrerUmfangreiches Graphikkonvolut mit 31 Arbeiten unterschiedlicher Techniken und Künstler, darunter Roger Loewig, Sievert, Wilhelm Loth, Joan Miro, Pablo Picasso, Camille Bryen, Winfred Prickard, Charles Lapicque, Peter K. Schaar, Bernd Hering, Klaus Bendixen, Reimer Riediger, Annapia Antonini, Tuvia Beeri, H.A. Schult, Dieter Asmus, Walter Stöhrer, Wolfram Adalbert Scheffler (2 x Mischtechnik), Wenzislav Iliev, Reiner Schwarz, Gerd Lind, Aribert von Ostrowski, Fritz Genkinger, Dana Stormova, Peter Paul, größtes Format 64 x 85 cm, meist signiert, für Selbstbesichtiger!
Jacques Dupin, Miro Radierungen, Band 1/3 (Deutsch/ Französisch), einmal mit 3 Original-Grafiken; Joan Miró, Lithographs Vol.I-II., 1972/75 & Joan Miró, Litógrafo I, 1972, ohne Original-Grafiken 2 x Jacques Dupin, Miró Radierungen, I- 1928-1960, Weber, Daniel Lelong Ed., 1984, 184 S. m. meist farb. Abb., einmal mit 3 farb. Origin.-Holzschnitte von Miró, Nr. 347 von 1600 Exemplaren, im Ganzleinen, sehr guter Zustand, einmal ohne die Holzschnitte Nr. 1049 von 1600, im Ganzleinen; Jacques Dupin, Miró graveur, III- 1973-1975, Daniel Lelong Ed., 1991, 237 S. m. meist farb. Abb., ohne die Origin.-Grafiken, Nr. 494 von 2000 Exemplaren, im Ganzleinen; Joan Miró, Lithographs Vol.I, M. Leiris/ R. Mourlot, Tudor, New York, 231 S., 1972, ohne Original-Grafiken, im Ganzleinen; Joan Miró, Lithographs Vol.II, R. Queneau, Léon Amiel, New York, 253 S., ohne Original-Grafiken, 1975, im Ganzleinen; Joan Miró, Liógrafo I, M. Leiris/ R. Mourlot, Ediciones Poligrafa Barcelona, 23. S., ohne Original-Grafiken, im Ganzleinen
*Joan Miró (1893-1983) etching with aquatint in colours - Ponts Suspendus (Bridges in Suspense), 1964, signed and numbered 2/100 in pencil on the reverse, Dupin-Miro Graveur no. 387, 19cm x 14cm, in glazed frameProvenance: William Weston Gallery, London Although the work has not been removed from the frame it is clearly not fully laid down, it has been professionally mounted and framed. The colours are good, some slight discolouration to the paper on the outer edges. The glass is dirty and marked, the remnants of tape. A couple of minor marks to the frame but not serious.
TWO LATER 20TH CENTURY PORTRAIT OILS ON CANVAS, comprising an atmospheric portrait of a Coal Miner titled 'Waiting to go below', indistinctly signed and dated John Co?? 1969 verso, oil on canvas, approximate size 61cm x 51cm, together with a head and shoulders portrait of a female figure, indistinctly signed and dated 1983 bottom right, titled 'Caroline' verso, oil on canvas, approximate size 50cm x 75cm, together with a vintage Joan Miro print 'Figures and dog in front of the sun', Condition Report: mall amount of paint loss to the Coal Miner painting, some frame damage to the Caroline portrait and Miro print
Discovery is a vibrant original color serigraph on paper by Brazilian Surrealist Ferjo. He includes paintings by Picasso and Miro on walls of an ethereal interior that opens onto the sea. Signature in gold ink on lower right: Ferjo. Edition number on lower left on embossed blind stamp: AP (Artist's Proof.)Artist: Ferjo (Fernando de Jesus Oliveira, Brazilian b. 1946)Issued: 21st centuryDimensions: 23.50"L x 23.50"HEdition Number: Artist ProofCountry of Origin: BrazilCondition: Age related wear.
Large original color lithograph on paper entitled Homage to the Masters by Brazilian Contemporary artist Ferjo. He depicts paintings by Picasso, Miro, and Renoir on the walls of a boldly colored Surrealist interior where a nude female violinist, objects, and animals float above a bright red floor. Signature in pencil on lower right: Ferjo. Edition number on lower left on Logo Art New York blind stamp: AP (Artist Proof.)Artist: Ferjo (Fernando de Jesus Oliveira, Brazilian b. 1946)Issued: 21st centuryDimensions: 31.50"L x 23.75"HEdition Number: Artist ProofCountry of Origin: BrazilCondition: Age related wear.
Miro, Joan (Barcelona 1893 - 1988 Palma de Mallorca)Farblithographie "M.1021" (Blatt 20) aus der Serie "Le enfance d´Ubu" auf Arches Velin, unsigniert, Blatt 32,3 x 50 cm mit Schöpfrand rechts, 1975 wohl aus der Auflage von 20 rückseitig nummerierten Hors Commerce - Exemplaren, insgesamt guter Zustand mit partiellen Verfärbungen (ausführlicher Zustandsbericht auf Anfrage), sauber gerahmt und verglast in hochwertigem Galerierahmen mit Pp. und sichtbaren Blattkanten (60 x 76 cm), nicht ausgerahmt, Rahmung in Ausführung und Größe identisch zur vorherigen Position 5704 Die Serie "Le enfance d´Ubu" (Die Kindheit des Ubu) wurde 1975 von Fernand Mourlot in einer Auflage von insgesamt 140 Exemplaren für Tériade Éditeurs Paris gedruckt, 120 Exemplare wurden vom Künstler in Blei nummeriert und signiert, 20 weitere Exemplare (Hors Commerce) blieben unsigniert und wurden auf der Rückseite typographisch von "I" bis "XX" römisch nummeriert Lit.: Patrick Cramer 1989, Joan Miró - The Illustrated Books - Catalogue Raisonné, Nr. 204
Miro, Joan (Barcelona 1893 - 1988 Palma de Mallorca)Farblithographie "M.1001" (Blatt 2) aus der Serie "Le enfance d´Ubu" auf Arches Velin, unten links in Blei nummeriert "33/120" und rechts in Blei signiert "Miró", Blatt 32,3 x 50 cm mit Schöpfrand rechts, 1975 aus der Auflage von 120 nummerierten und signierten Exemplaren, insgesamt guter Zustand mit partiellen Verfärbungen (ausführlicher Zustandsbericht auf Anfrage), sauber gerahmt und verglast in hochwertigem Galerierahmen mit Pp. und sichtbaren Blattkanten (60 x 76 cm), nicht ausgerahmt, Rahmung in Ausführung und Größe identisch zur folgenden Position 5703 Die Serie "Le enfance d´Ubu" (Die Kindheit des Ubu) wurde 1975 von Fernand Mourlot in einer Auflage von insgesamt 140 Exemplaren für Teriade Editeurs Paris gedruckt, 120 Exemplare wurden vom Künstler in Blei nummeriert und signiert, 20 weitere Exemplare (Hors Commerce) blieben unsigniert und wurden auf der Rückseite typographisch von "I" bis "XX" römisch nummeriert Lit.: Patrick Cramer 1989, Joan Miró - The Illustrated Books - Catalogue Raisonné, Nr. 204
MIRÓ, JOAN (1893-1983), Originallithographie VII aus "Lithograph I", 1972, Farblithographie, Nr. 8 aus der auf 150 Exemplare limitierten Luxusausgabe des "Lithograph I", vorderseitig am unteren Rand mit Bleistift num. 8/150, bezeichnet 'M. 863' (WVZ-Nr. Mourlot) und 'Miro', verso im Druck bezeichent, HxB: Blatt ca. 34x51 cm. Mittelfalz; Leichte Alters- und Knickspuren. Kopie der Rg. der Galerie Valentien,Stuttgart mit Werkangaben anbei. | MIRÓ, JOAN (1893-1983), original lithograph VII from ‘Lithograph I’, 1972, colour lithograph, no. 8 from the luxury edition of ‘Lithograph I’ limited to 150 copies, numbered 8/150 in pencil in the lower margin on the front, inscribed ‘M. 863’ (WVZ no. Mourlot) and ‘Miro’, inscribed in the print on the verso, HxW: sheet approx. 34x51 cm. Centrefold; slight traces of age and creasing. Copy of the reg. of Galerie Valentien, Stuttgart with work details enclosed.
Werkverzeichnisse - Miro - - Jacques Dupin u. Ariane Lelong-Mainaud. Joan Miró. Catalogue raisonné. Drawings. Vol. I-VI: 1901-1981. 6 Bde. Paris, Daniel Lelong u. Successió Miró, 2008-2018. 4°. OLwd. mit ill. OU, Bd. II-V original verpackt. Vollständige Ausgabe, die das Werk des Künstlers auf Papier von 1901-1981 umfasst, darunter Bleistiftzeichnungen, Aquarelle, Gouachen, Pastelle und Werke in verschiedenen Medien auf Papier und anderen Trägern wie Karton, Pappe, Metall oder Holz. - Ausgezeichnete Exemplare in neuwertigem Zustand. Complete edition in 6 vols., which includes the artist's work on paper from 1901-1981, pencil drawings, watercolors, gouaches, pastel and works in various media on paper and other supports such as card, cardboard, metal or wood. - Orig. cloth with illustr. orig. dustjackets, vol. II-V originally packed. - As new.
* 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 134cm 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.
* IAIN CARBY (SCOTTISH 1941 - 2023), FISHING BOATS AT CADAQUES oil on canvas, signed, titled and dated '08 versoframedimage size 24cm x 30cm, overall size 39cm x 44cm 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.
MIRO, Joan(1893 Barcelona - 1983 Palma) "Der Singende"Farblithographie (1972). Passepartoutfenster: 35,5 x 28 cm. Gerahmt & hinter Glas : 61 x 53 cm. Abstrakte Komposition mit Fischmotiv. Doppeltes Passepartout. Spanischer Maler, Grafiker und Bildhauer; zählt zu den bedeutendsten Vertretern des Surrealismus. Aufrufzeit 26. | Okt. 2024 | voraussichtlich 11:04 Uhr (CET) MIRO, Joan(1893 Barcelona - 1983 Palma) "Der Singende"Color lithograph (1972). Passe-partout window: 35.5 x 28 cm. Framed & behind glass : 61 x 53 cm. Abstract composition with fish motif. Double passe-partout. Spanish painter, graphic artist and sculptor; one of the most important representatives of Surrealism. Aufrufzeit 26. | Oct. 2024 | probably 11:04 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.
MIRO, Joan(1893 Barcelona - 1983 Palma) "Der blaue Stern"Farblithographie. 33 x 27 cm. Gerahmt & hinter Glas : 52,5 x 42,5 cm. Abstrakte Komposition aus farbigen Flächen, Tropfen und Linien verschiedener Formen, Stärken und Transparenz, zentral der namensgebende blaue Stern. Spanischer Maler, Grafiker und Bildhauer; zählt zu den bedeutendsten Vertretern des Surrealismus. Provenienz : Rückseitig Zertifikat: "Original Farblithographie vom Künstler für das Werkverzeichnis seiner Lithographien (Mourlot Litograph Band I) 1972 geschaffen. WVZ Mourlot Nr. 857". Aufrufzeit 26. | Okt. 2024 | voraussichtlich 11:04 Uhr (CET) MIRO, Joan(1893 Barcelona - 1983 Palma) "The blue star"Color lithograph. 33 x 27 cm. Framed & behind glass : 52.5 x 42.5 cm. Abstract composition of colored surfaces, drops and lines of various shapes, thicknesses and transparency, with the eponymous blue star in the center.Spanish painter, graphic artist and sculptor; one of the most important representatives of Surrealism. Provenance : Certificate on verso: "Original color lithograph created by the artist for the catalog raisonné of his lithographs (Mourlot Litograph Volume I) 1972. WVZ Mourlot no. 857". Call time 26 | Oct. 2024 | presumably 11:04 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.
JOAN MIRO Montroig 1893 - 1983 Mallorca: Constellations. Ausstellungsplakat der Galerie Berggruen, Paris 1959. Farblithographie 1959. Mourlot 191. Corredor-Matheos 10. - Mit typographischem Plakattext und Druckeradresse von Mourlot unterhalb der Darstellung. Auf kräftigem chamoisfarbenen Velin d’Arches. 68 x 50 cm. Hauptsächlich im rechten Randbereich stellenweise schwach braunfleckig. [ms]
* French playing cards. Spanish National Pattern, Paris: B.P. Grimaud, circa 1900, a complete deck of 48 stencil coloured lithographed playing cards (Spanish suits), all single figure courts and ace of coins with maker's details, 2 of swords with tax stamp, lightly toned and dusty, few minor marks, 2 of clubs somewhat soiled, indices, square corners, versos small blue pattern, each card 95 x 62 mm, together with 36 other French packs, including two circa 1910: G. Jouin of Paris, Belgian pattern for export, and B.P. Grimaud English pattern (Whist no.1000), the remainder all second half 20th century, comprising: Memoires de Casanova de Seingalt, by Philibert of Paris; 3 packs by Arts et Lettres of Nancy; 5 packs by J.C. Dusserre of Paris (one made by Boechat Freres); 3 packs by Catel et Farcy of Paris; 1 pack each by Draeger Freres, by Miro, and by Willeb, all of Paris; and 19 packs by B.P. Grimaud, all marked as complete (not checked), a quantity of cards from each deck mounted with photo corners onto 35 display boards (two encapsulated in clear plastic), none examined out of boards, the remainder in plastic bags, most with original box, each board 59.5 x 42 cm and smallerQTY: (35)NOTE:Provenance: Collection of Dudley Ollis.
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