The Iron Giant (1999) - Richard Bazley (lead animator) - an original pencil on paper drawing portraying The Giant, as drawn by Richard Bazley. Signed to the bottom right corner. Measuring approximately 24cm x 31cm. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.
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The Iron Giant (1999) - Richard Bazley (lead animator) - an original pencil on paper drawing portraying The Giant, as drawn by Richard Bazley. Signed to the bottom right corner. Measuring approximately 24cm x 31cm. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.
The Iron Giant (1999) - Richard Bazley (lead animator) - an original pencil on paper drawing portraying The Giant, as drawn by Richard Bazley. Signed to the bottom right corner. Measuring approximately 24cm x 31cm. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.
The Iron Giant (1999) - Richard Bazley (lead animator) - an original pencil on paper drawing portraying the characters Hogarth and The Giant, as drawn by Richard Bazley. Signed to the bottom right corner. Measuring approximately 24cm x 31cm. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.
The Iron Giant (1999) - Richard Bazley (lead animator) - an original pencil on paper drawing portraying the characters Hogarth and The Giant, as drawn by Richard Bazley. Signed to the bottom right corner. Measuring approximately 24cm x 31cm. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.
The Iron Giant (1999) - Richard Bazley (lead animator) - an original pencil on paper drawing portraying the characters Hogarth and The Giant, as drawn by Richard Bazley. Signed to the bottom right corner. Measuring approximately 24cm x 31cm. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.
The Iron Giant (1999) - Richard Bazley (lead animator) - an original pencil on paper drawing portraying The Giant, as drawn by Richard Bazley. Signed to the bottom right corner. Measuring approximately 24cm x 31cm. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.
The Iron Giant (1999) - Richard Bazley (lead animator) - an original pencil on paper drawing portraying the characters Hogarth and The Giant, as drawn by Richard Bazley. Signed to the bottom right corner. Measuring approximately 32cm x 40.5cm. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.
The Iron Giant (1999) - Richard Bazley (lead animator) - an original pencil on paper drawing portraying The Giant, as drawn by Richard Bazley. Signed to the bottom right corner. Measuring approximately 24cm x 31cm. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.
The Iron Giant (1999) - Richard Bazley (lead animator) - an original pencil on paper drawing portraying the characters Hogarth and The Giant, as drawn by Richard Bazley. Signed to the bottom right corner. Measuring approximately 24cm x 31cm. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.
The Iron Giant (1999) - Richard Bazley (lead animator) - an original pencil on paper drawing portraying the character Hogarth, as drawn by Richard Bazley. Signed to the bottom right corner. Measuring approximately 32cm x 40.5cm. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.
The Iron Giant (1999) - Richard Bazley (lead animator) - an original pencil on paper drawing portraying The Giant, as drawn by Richard Bazley. Signed to the bottom right corner. Measuring approximately 24cm x 31cm. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.
The Iron Giant (1999) - Richard Bazley (lead animator) - an original pencil on paper drawing portraying the character Hogarth, as drawn by Richard Bazley. Signed to the bottom right corner. Measuring approximately 32cm x 40.5cm. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.
The Iron Giant (1999) - Richard Bazley (lead animator) - an original pencil on paper drawing portraying The Giant, as drawn by Richard Bazley. Signed to the bottom right corner. Measuring approximately 24cm x 32cm. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.
The Iron Giant (1999) - Richard Bazley (lead animator) - an original pencil on paper drawing portraying The Giant, as drawn by Richard Bazley. Signed to the bottom right corner. Measuring approximately 24cm x 31cm. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.
The Iron Giant (1999) - Richard Bazley (lead animator) - an original pencil on paper drawing portraying The Giant, as drawn by Richard Bazley. Signed to the bottom right corner. Measuring approximately 24cm x 31cm. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.
The Iron Giant (1999) - Richard Bazley (lead animator) - an original pencil on paper drawing portraying The Giant, as drawn by Richard Bazley. Signed to the bottom right corner. Measuring approximately 24cm x 32cm. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.
The Iron Giant (1999) - Richard Bazley (lead animator) - an original pencil on paper drawing portraying The Giant, as drawn by Richard Bazley. Signed to the bottom right corner. Measuring approximately 24cm x 31cm. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.
The Iron Giant (1999) - Richard Bazley (lead animator) - an original pencil on paper drawing portraying the characters Hogarth and The Giant, as drawn by Richard Bazley. Signed to the bottom right corner. Measuring approximately 24cm x 31cm. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.
The Iron Giant (1999) - Richard Bazley (lead animator) - an original pencil on paper drawing portraying the character Hogarth, as drawn by Richard Bazley. Signed to the bottom right corner. Measuring approximately 32cm x 40.5cm. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.
The Iron Giant (1999) - Richard Bazley (lead animator) - an original pencil on paper drawing portraying the The Giant, as drawn by Richard Bazley. Signed to the bottom right corner. Measuring approximately 32cm x 40.5cm. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.
The Iron Giant (1999) - Richard Bazley (lead animator) - an original pencil on paper drawing portraying The Giant, as drawn by Richard Bazley. Signed to the bottom right corner. Measuring approximately 24cm x 31cm. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.
The Iron Giant (1999) - Richard Bazley (lead animator) - an original pencil on paper drawing portraying the characters Hogarth and The Giant, as drawn by Richard Bazley. Signed to the bottom right corner. Measuring approximately 32cm x 40cm. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.
The Iron Giant (1999) - Richard Bazley (lead animator) - an original pencil on paper drawing portraying The Giant, as drawn by Richard Bazley. Signed to the bottom right corner. Measuring approximately 24cm x 31cm. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.
The Iron Giant (1999) - Richard Bazley (lead animator) - an original pencil on paper drawing portraying The Giant, as drawn by Richard Bazley. Signed to the bottom right corner. Measuring approximately 24cm x 31cm. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.
The Iron Giant (1999) - Richard Bazley (lead animator) - an original pencil on paper drawing portraying The Giant, as drawn by Richard Bazley. Signed to the bottom right corner. Measuring approximately 24cm x 31cm. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.
The Iron Giant (1999) - Richard Bazley (lead animator) - an original pencil on paper drawing portraying the characters Hogarth and The Giant, as drawn by Richard Bazley. Signed to the bottom right corner. Measuring approximately 24cm x 31cm. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.
The Iron Giant (1999) - Richard Bazley (lead animator) - an original pencil on paper drawing portraying the characters Hogarth and The Giant. A recreation of a scene animated by Richard Bazley. "This is the greatest discovery since... I don't know... television or something!" Signed to the bottom right corner. Measuring approximately 24cm x 31cm. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.
The Iron Giant (1999) - Richard Bazley (lead animator) - an original pencil on paper drawing portraying The Giant, as drawn by Richard Bazley. Signed to the bottom right corner. Measuring approximately 24cm x 31cm. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.
The Iron Giant (1999) - Richard Bazley (lead animator) - an original pencil on paper drawing portraying the character Hogarth, as drawn by Richard Bazley. Signed to the bottom right corner. Measuring approximately 32cm x 40.5cm. Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.
David Hockney R.A. (British, born 1937)Corbusier Chair and Rug (see Baggott 22) A rare offset lithograph in colours, 1969, on wove paper, signed and inscribed 'E.A.' in pencil (an artist's proof before the lettering for the exhibition poster David Hockney at Andre Emmerich, April 26 - May 15, 1969, New York), with margins, framedSheet 684 x 555mm (26 7/8 x 21 3/4in)Footnotes:This work is based on the 1969 drawing in crayon baring the same title.ProvenanceRex Irwin Gallery, Sydney, Australia.Private collection, U.K.ExhibitedBig Prints..., cat. no. 10, 1990, Rex Irwin Gallery, Sydney, Australia (gallery label).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Brice Marden (American, born 1938)Muses and Meres (Gemini 63.2-8) The complete set of seven lithographs and etchings in colours, Muses with Graphite with pencil drawing, 2001, on Somerset Satin white paper, each signed, dated and numbered 19/45 in pencil (there were also ten artist's proofs), printed and published by Gemini G.E.L., Los Angeles, with their blindstamp and ink stamp, the full sheetsEach image 436 x 664mm (17 1/8 x 26 1/8in)Each sheet 561 x 765mm (22 x 30 1/8in)(7)Footnotes:Comprising:63.2 Eagles Mere Muses63.3 Red Line Muses63.4 Greyer Muses63.5 Line Muses63.6 Muses With Graphite63.7 Beyond Eagles Mere63.8 Beyond Eagles Mere 2ProvenanceProperty from the Morgan Collection, Australia.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
▲ Clifford Cyril Webb (1895-1972) 'Cheetah & Black Buck' 'Legend', woodcut, both signed in pencil and titled, 15 x 19cm and 20.5 x 24cm (2)Webb was drawing master at Birmingham School of Art. He also exhibited at the R.A., R.B.A., R.E. and R.O.I. 29cm x 30.5cm. Condition ReportFramed, mounted and glazed - images good. Frames dirty.
An extensive collection of mostly 19th century prints and decorative wares all relating to Lord Byron, - Beardsley print of Byron- Perspective view of Newstead Abbey and Park, engraving- embellished print of Ada Lady Lovelace, Lord Byron's daughter- small engraving of Newstead Abbey in Nottinghamshire- coloured engraving of Newstead Abbey and Park- gilt metal half length relief plaque of Lord Byron, in maple frame- engraving of Byron by Rajon- pencil drawing of Lord Byron, by amateur hand- French engraved portrait, Lord Byron- another perspective view of Newstead Abbey- untitled engraving of Newstead Abbey- large engraving, Byron sleeping near ruins, after Heath Blake, 39 x 58cm- reprint engraving of Newstead Abbey- modern printed portrait of Byron- Shaffer and Vater, jasperware dish of Lord Byron, 17cm- coloured engraving of Newstead Abbey after Allom- cased limited edition Wedgwood blue jasper plaque of Byron- and sundry unrelated small prints
Slawomir Elsner 1976 Wodzislaw (Polen) - lebt und arbeitet in Berlin My Country Nr. 3. 2004. Farbstiftzeichnung und Bleistift auf Papier. Verso signiert, datiert und betitelt 'Aus der Serie 'My Country' Nr. 3' sowie mit der Größenangabe '100 x 160 cm' bezeichnet. 91,5 x 151,5 cm (36 x 59,6 in). Papier: 100 x 160 cm (39,3 x 62,9 in). [AR]. • Aus der wichtigen Werkgruppe der großformatigen Farbstiftzeichnungen, für deren virtuose Ausführung der deutsch-polnische Künstler weithin bekannt ist. • Mit der schaurig-schönen Inszenierung von Bränden stellt Slawomir Elsner in der Serie 'My Country' unser ästhetisches und moralisches Empfinden auf die Probe. • Erzählerisch wie auch in der technischen Ausführung von großer Dichte und Komplexität. • Weitere Papierarbeiten des Künstlers befinden sich in verschiedenen grafischen Sammlungen, darunter die Staatliche Graphische Sammlung der Pinakothek der Moderne, München, und das Kupferstichkabinett der Staatlichen Museen, Berlin. Mit einer vom Künstler signierten Bestätigung vom 17. Oktober 2024. PROVENIENZ: Sammlung Deutschland. Aufrufzeit: 07.12.2024 - ca. 18.09 h +/- 20 Min. Dieses Objekt wird regelbesteuert angeboten (R), Folgerechtsvergütung fällt an.ENGLISH VERSIONSlawomir Elsner 1976 Wodzislaw (Polen) - lebt und arbeitet in Berlin My Country Nr. 3. 2004. Colored pencil drawing and pencil on paper. Signed, dated and titled 'Aus der Serie “My Country” Nr. 3' as well as inscribed with the size '100 x 160 cm' on the reverse. 91.5 x 151.5 cm (36 x 59.6 in). Sheet: 100 x 160 cm (39,3 x 62,9 in). [AR]. • From the significant group of large-format color pencil drawings, their masterful execution made the German-Polish artist widely known. • With the eerily beautiful presentation of fires in the series “My Country,” Slawomir Elsner tests our aesthetic and moral sensibilities. • Dense and complex in terms of both narrative and technical execution. • Further works on paper by the artist can be found in various graphic collections, including the Staatliche Graphische Sammlung of the Pinakothek der Moderne, Munich, and the Kupferstichkabinett of the Staatliche Museen, Berlin. With a certificate signed by the artist, dated October 17, 2024. PROVENANCE: From a German collection. Called up: December 7, 2024 - ca. 18.09 h +/- 20 min. This lot can only be purchased subject to regular taxation (R), artist´s resale right compensation is due.
Andy Warhol 1928 Pittsburgh - 1987 New York Goethe. 1982. Bleistiftzeichnung. Verso mit dem Nachlassstempel und der handschriftlichen Nummerierung '115.145' sowie der handschriftlichen Bezeichnung 'VF'. Auf festem Zeichenpapier (mit Wasserzeichen 'HMP'). 75,5 x 102,5 cm (29,7 x 40,3 in), Blattgröße. Warhols Pop-Art-Porträts wurden vom 9. Juni bis zum 6. Oktober dieses Jahres mit einer umfassenden Ausstellung in der Neuen Nationalgalerie, Berlin, gefeiert. [CH]. • Der Star der amerikanischen Pop-Art porträtiert eine Ikone der Weltliteratur. • Die Porträts verschiedenster Berühmtheiten gehören zu den bekanntesten Werken Andy Warhols und durchziehen sein gesamtes künstlerisches Schaffen. • Als Vorlage dient Warhol hier das von J. H. W. Tischbein 1787 geschaffene Porträt des weltbekannten Dichters im Städel Museum, das er während eines Frankfurt-Besuchs im Jahr 1980 kennenlernt. • Warhol übersetzt das Motiv mit klarer und kräftiger Linienführung in eine beinahe lebensgroße Zeichnung. • Bewusst, statt spontan: Die Zeichnung trägt nicht die Flüchtigkeit einer schnell dahingeworfenen Skizze in sich, sondern eine intensive Auseinandersetzung mit Warhols individuellen künstlerischen Ideen. • Das Motiv verarbeitet er später in großformatigen Darstellungen auf Leinwand und eine berühmte Folge von Serigrafien. • 2019 zeigt die New York Academy of Art unter dem Titel 'Andy Warhol: By Hand' eine Ausstellung seiner Zeichnungen und verhilft dem Medium damit zu neuer Aufmerksamkeit. PROVENIENZ: Nachlass des Künstlers (verso mit dem Nachlassstempel). Privatsammlung Deutschland. Vom heutigen Eigentümer vom Vorgenannten erworben. LITERATUR: Jörg Schellmann (Hrsg.), Andy Warhol. Unique, München 2014, S. 64 (m. ganzs. Abb.). Aufrufzeit: 07.12.2024 - ca. 17.22 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONAndy Warhol 1928 Pittsburgh - 1987 New York Goethe. 1982. Pencil drawing. With the estate stamp and the handwritten number “115.145”, as well as with the handwritten inscription “VF” on the reverse. On firm paper (with watermark 'HMP'). 75.5 x 102.5 cm (29.7 x 40.3 in), size of sheet. From June 9 to October 6 this year, a major exhibition at the Neue Nationalgalerie in Berlin celebrated Warhol's Pop Art portraits. [CH]. • The star of American Pop Art portrays an icon of world literature. • His portraits of celebrities are among Andy Warhol's most famous works. • Warhol based the present portrait on J. H. W. Tischbein's 1787 painting on display at the Städel Museum. He became acquainted with the painting on a visit to Frankfurt in 1980. • Warhol rendered the motif with clear, bold lines in an almost life-size drawing. • Intentional rather than spontaneous: The drawing does not have the fleeting quality of a swiftly jotted sketch. Instead, it results from an intensive examination of Warhol's artistic ideas. • He would later work with the motif in large-format depictions on canvas and a famous series of serigraphs. • In 2019, the New York Academy of Art presented an exhibition of his drawings entitled “Andy Warhol: By Hand,” which drew increased attention to the medium. PROVENANCE: From the artist's estate (with estate stamp on the reverse). Private collection, Germany. Acquired from the above by the current owner. LITERATURE: Jörg Schellmann (ed.), Andy Warhol. Unique, Munich 2014, p. 64 (illustrated). Called up: December 7, 2024 - ca. 17.22 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.
Andy Warhol 1928 Pittsburgh - 1987 New York Hesse. 1984. Bleistiftzeichnung. Verso mit dem Nachlassstempel und der handschriftlichen Nummerierung '115.186' sowie der handschriftlichen Bezeichnung 'VF' und dem Stempel der Andy Warhol Foundation for the Visual Arts. 80 x 58,5 cm (31,4 x 23 in), blattgroß. [EH]. • Andy Warhol, die Ikone der Pop-Art, ist ein brillanter Zeichner mit unfehlbarem, bisweilen ornamentalem Strich. • Nach dieser Zeichnung entsteht der gleichnamige Siebdruck (Feldmann/Schellmann IIIC.71). • Entstanden nach dem Foto 'Hermann Hesse raucht in der Bibliothek, 1935'. • 2020/21 widmeten die Tate Modern, London, und das Museum Ludwig, Köln, Warhols künstlerischem Beitrag für mehr gesellschaftliche Diversität mit 'Andy Warhol Now' eine eigene Ausstellung. PROVENIENZ: Vom heutigen Eigentümer vom Vorgenannten erworben. Aufrufzeit: 07.12.2024 - ca. 17.21 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONAndy Warhol 1928 Pittsburgh - 1987 New York Hesse. 1984. Pencil drawing. With the estate stamp and the handwritten number “115.186”, as well as with the handwritten inscription “VF” and the stamp of the Andy Warhol Foundation for the Visual Arts on the reverse. 80 x 58.5 cm (31.4 x 23 in), the full sheet. [EH]. • Andy Warhol, the icon of Pop Art, is a brilliant draftsman with an unerring and at times ornamental stroke. • The screen print of the same name was made after this drawing (Feldmann/Schellmann IIIC.71). • The present work was inspired by the photograph “Hermann Hesse smoking in the library, 1935”. • In 2020/21, Tate Modern, London, and Museum Ludwig, Cologne, dedicated the special exhibition “Andy Warhol Now” to Warhol's artistic contribution to more social diversity. PROVENANCE: From the artist's estate. Andy Warhol Foundation for the Visual Arts, New York. Private collection, Germany. From a German owner (acquired from the above). Called up: December 7, 2024 - ca. 17.21 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.
Friedrich Schröder-Sonnenstern 1892 Berlin - 1982 Berlin Die moralische Schwanenbeschwörung. 1956. Farbstiftzeichnung. Rechts unten signiert und datiert, links unten betitelt. Verso monogrammiert und datiert. Auf glattem Karton. 49 x 70,8 cm (19,2 x 27,8 in), Blattgröße. [EH]. • Bis Mitte der 1950er Jahre zeichnet Friedrich Schöder-Sonnenstern fast ausschließlich mit Bleistift, erst dann mit farbigen Buntstiften. • 1973 auf der Schöder-Sonnenstern-Retrospektive der Kestner-Gesellschaft gezeigt. • Die Mythologie seiner Bildwelten ist so komplex wie die Vielfältigkeit seines Lebens. PROVENIENZ: Sammlung Carl Laszlo, Basel. Sammlung Schweiz. AUSSTELLUNG: Friedrich Schröder-Sonnenstern, Kestner-Gesellschaft Hannover, 8.6.-1.7.1973, Kat.-Nr. 124 (verso mit einem Etikett und dem applizierten Katalogeintrag). Wundersame Welten. Von René Magritte bis Daniel Richter, Museum im Kleihues-Bau, Kornwestheim, 13.5.-24.9.2023. Aufrufzeit: 07.12.2024 - ca. 17.14 h +/- 20 Min. Dieses Objekt wird differenzbesteuert, zuzüglich einer Einfuhrumsatzabgabe in Höhe von 7 % (Ersparnis von etwa 5 % im Vergleich zur Regelbesteuerung) oder regelbesteuert angeboten (N), Folgerechtsvergütung fällt an.ENGLISH VERSIONFriedrich Schröder-Sonnenstern 1892 Berlin - 1982 Berlin Die moralische Schwanenbeschwörung. 1956. Colored pencil drawing. Signed and dated lower right, titled lower left. Monogrammed and dated on the reverse. On smooth cardboard. 49 x 70.8 cm (19.2 x 27.8 in), size of sheet. [EH]. • Until the mid-1950s, Friedrich Schröder-Sonnenstern drew almost exclusively with pencil, and only began using colored crayons thereafter. • Shown at the Schröder-Sonnenstern retrospective at the Kestner Gesellschaft in 1973. • The mythology of his imagery is as complex as his life was diverse. PROVENANCE: Carl Laszlo Collection, Basel. From a Swiss collection. EXHIBITION: Friedrich Schröder-Sonnenstern, Kestner-Gesellschaft Hanover, June 8 - July 1, 1973, cat. no. 124 (with a label and the catalog entry attached to the reverse). Wundersame Welten. Von René Magritte bis Daniel Richter, Museum im Kleihues-Bau, Kornwestheim, May 13 - September 24, 2023. Called up: December 7, 2024 - ca. 17.14 h +/- 20 min. This lot can be subjected to differential taxation plus a 7% import tax levy (saving approx. 5 % compared to regular taxation) or regular taxation (N), artist´s resale right compensation is due.
Peter Stämpfli 1937 Deisswill bei Münchenbuchsee, Schweiz Road Lug. 1972. Bleistiftzeichnung. Rechts oben signiert und datiert. Auf festem Velin. 91,8 x 187,5 cm (36,1 x 73,8 in), Blattgröße. [AW]. • Der schweizerische Künstler Peter Stämpfli entfaltet seine Kunst in den Grenzbereichen von Pop-Art, Minimal Art, Konzept Kunst und Figurativer Malerei. • Ab 1969 widmet er sich dem Motiv des Autoreifens. • Die Reifenmuster verselbständigen sich, nehmen übernatürliche Dimensionen an und verkrusten sich zu unendlichen Zeichenlandschaften. • Arbeiten Stämpflis befinden sich in international renommierten Sammlungen, darunter das Centre Pompidou, Paris, das Kunsthaus Zürich, und das Museum of Modern Art, New York. PROVENIENZ: Sammlung Schweiz. AUSSTELLUNG: Contemporary Swiss Art, Tel Aviv Museum of Art, 28.11.1972-27.1.1973 (verso auf der Rahmenrückseite mit dem Ausstellungsetikett). Les Visionneurs, Galerie 15, Basel, 1973. Fixsterne. 100 Jahre Kunst auf Papier. Adolph Menzel bis Kiki Smith, Stiftung Schleswig Holsteinische Landesmuseen, Schloss Gottdorf, 31.5.-20.9.2009, S. 129 (m. Abb.) (verso auf der Rahmenrückseite mit dem Ausstellungsetikett). Aufrufzeit: 07.12.2024 - ca. 17.27 h +/- 20 Min. Dieses Objekt wird differenzbesteuert, zuzüglich einer Einfuhrumsatzabgabe in Höhe von 7 % (Ersparnis von etwa 5 % im Vergleich zur Regelbesteuerung) oder regelbesteuert angeboten (N), Folgerechtsvergütung fällt an.ENGLISH VERSIONPeter Stämpfli 1937 Deisswill bei Münchenbuchsee, Schweiz Road Lug. 1972. Pencil drawing. Signed and dated upper right. On firm wove paper. 91.8 x 187.5 cm (36.1 x 73.8 in), size of sheet. [AW]. The Swiss artist Peter Stämpfli unfolds his artistic vision in the borderlands between Pop Art, Minimal Art, Conceptual Art, and figurative painting. • From 1969, he devoted himself to the motif of the tire. • The tire patterns become independent, take on supernatural dimensions, and encrust themselves into infinite symbolic landscapes. • Stämpfli's works can be found in internationally renowned collections, including the Centre Pompidou, Paris, the Kunsthaus Zürich, and the Museum. PROVENANCE: From a Swiss collection. EXHIBITION: Contemporary Swiss Art, Tel Aviv Museum of Art, November 28, 1972–January 27, 1973 (with the exhibition label on the back of the frame). Les Visionneurs, Galerie 15, Basel, 1973. Fixsterne. 100 Jahre Kunst auf Papier. Adolph Menzel bis Kiki Smith, Stiftung Schleswig Holsteinische Landesmuseen, Schloss Gottdorf, May 31 - September 20, 2009, p. 129 (illustrated) (with the exhibition label on the reverse of the frame). Called up: December 7, 2024 - ca. 17.27 h +/- 20 min. This lot can be subjected to differential taxation plus a 7% import tax levy (saving approx. 5 % compared to regular taxation) or regular taxation (N), artist´s resale right compensation is due.
Deutsche Nachkriegsmoderne Norbert Prangenberg (1949 Rommerskirchen - 2012 Krefeld)o.T. 1989. Mischtechnik mit Aquarell über Bleistift auf leichtem Velin. 29,5 x 41,5 cm. Verso signiert, datiert und ortsbezeichnet sowie weiterer, skizzenartiger Zeichnung. - Technikbedingt leicht gewellt, insgesamt gut erhalten. Die Farben frisch. Mixed media with watercolour over pencil on light wove paper. Signed, dated and localized on verso, here also with further sketch-like drawing. - Slightly wavy due to technique, overall well preserved. The colours appearing fresh and luminous.
Minimalismus - - Lee Ufan. 5 monochromatische Aquarelle sowie eine Umrisszeichnung in Bleistift, in: Un Poléoscope. Poème en proses et en poèmes. 1990. Je auf Richard de Bas-Bütten (m. Wz.). 33 x 25 cm (Blattgröße). Die Aquarelle signiert bzw. monogrammiert, datiert und nummeriert, die Umrisszeichnung betitelt, im Impressum abermals signiert und nummeriert. Auf gefalteten Doppelblatt lose in Orig.-Umschlag, in Leinenchemise. - Mit einem Text von Michel Deguy. - Doppelblatt sowie Umschlag in äußersten Rändern ganz leicht gebräunt, Papier ganz leicht gewellt, vereinzelter, blassdunkler winziger Fleck, Umschlagrückseite und -rücken mit sehr wenigen blassbraunen kleinen Flecken, insgesamt gut. KW Koopm K 338. - FRBNF47420363. - Provenienz: Privatbesitz Paris. - Eines von lediglich 17 seriell-unikatären Exemplaren. - Eine magische Poesie spricht aus Lee Ufans Arbeiten, die rhythmisierte Monochromie mit Bewegung verbinden. Der zwischen Paris, New York und Japan lebende koreanische Künstler konzentriert sich in seinem minimalistischen Werk seit den 1970er Jahren auf die Ausführung des einen einzigen Pinselstrichs, zieht ihn enorm kraftvoll über Leinwand und Papier. Nach tiefer Meditation, so wirkt es, taucht er den breiten Pinsel in Ozeanblau und setzt zum Malen in einem Akt höchsten künstlerischen Ausdrucks an, bis dieser keine Farbe mehr abgibt. In meisterlicher Reduktion wird die dahinfließende Farbe zum bildlichen Mediator, zeigt Aktion und Prozessualität. Die Bewegung von des Künstlers Hand zeigt eine Verbindung zwischen Körper und Zeitlichkeit auf und setzt Pinselstrich und Bildgrund in eine dialektische Beziehung zueinander. Es ist der malerischen Abdruck Ufans, dessen Spur unmittelbar in aller Materialität erfahrbar wird. In "Un Poléoscope" zeigt sich Ufan für die fernöstliche Ausgabe in Zusammenarbeit mit dem französischen Dichter Michel Deguy entstandenen Künstlerbuchs verantwortlich, zwei weitere Ausgaben sind mit Illustrationen von Lucio Pozzi und David Jones bekannt. Vorliegendes Portfolio aus dem Frühwerk des Künstlers wird erstmalig dem deutschen Auktionsmarkt zugeführt. Lediglich ein weiteres Exemplar in der Koopman Collection, Amsterdam, ist für uns nachweisbar. 5 monochromatic watercolours as well as an outline drawing in pencil, in: Un Poléoscope. Poème en proses et en poèmes. 1990. On Richard de Bas laid paper (with watermark). Watercolours signed or rather monogrammed, dated and numbered, pencil drawing titled, signed and numbered again in imprint. On folded double sheet lose in original cover, in linen chemise. - With text by Michel Deguy. - Double sheet as well as cover in outermost margins very slightly browned, paper very slightly buckled, isolated, pale-dark tiny stain, cover's back and spine with very few faint-brown small stains, all in all good. - Provenance: Private collection, Paris. - One of only 17 serial-unique copies. - A magical poetry speaks from Lee Ufan's works, which combine rhythmised monochrome with movement. Since the 1970s, the Korean artist, who lives between Paris, New York and Japan, has focussed on the execution of a single brushstroke in his minimalist work, drawing it across canvas and paper with enormous power. After deep meditation, it seems, he dips the broad brush in ocean blue and begins to paint in an act of supreme artistic expression until it no longer gives off any colour. In a masterly reduction, the flowing colour becomes a pictorial mediator, showing action and processuality. The movement of the artist's hand reveals a connection between body and temporality and places brushstroke and picture ground in a dialectical relationship to one another. It is the painterly imprint of Ufan, whose trace can be directly experienced in all its materiality. In 'Un Poléoscope', Ufan is responsible for the Far Eastern edition of the artist's book created in collaboration with the French poet Michel Deguy; two further editions are known with illustrations by Lucio Pozzi and David Jones. This portfolio from the artist's early work is being presented to the German auction market for the first time. Only one other copy in the Koopman Collection, Amsterdam, is known to us.
Christo (d. i. Chr. Javacheff). (1935 Gabrovo/Bulgarien - 2020 New York). Store Front (Mandarin yellow from "Red Devil" enamel). 1965. Zeichnung in Mischtechnik mit Collage, Bleistift, Ölkreide und Emailfarbe auf Zeichenpergament. 71 x 56,5 cm. Signiert, datiert, bezeichnet sowie mit weiteren Annotationen in Bleistift. Mit Heftklammern auf Karton sowie mit Nägeln auf Holzplatte montiert. In Plexiglasbox präsentiert. - Papierbedingt zart angebräunt, im Blattrand leicht lichtrandig, hier auch die Montierung durchscheinend, etwas gebrauchsspurig sowie technikbedingt leicht fleckig, die untere linke Ecke mit kleinem Abriss sowie Unterlegkarton mit schwachen Wasserrand. Insgesamt gut. Die Farben in frischer Erhaltung. Detailliert ausgearbeitete Entwurfszeichnug sowie für die Erschließung des Gesamtwerkes Christos ausgesprochen bedeutende Arbeit. Unsere Arbeit dem Christo & Jeanne Claude Archiv in New York bekannt, wir danken für die freundliche Bestätigung der Authentizität. - In den frühen sechziger Jahren begannen Christo und Jeanne-Claude die Arbeit an den Store Front Projects, zu jener Zeit noch in Paris. Aus kleinen Vitrinen und Schränkchen, welche Christo überwiegend auf Flohmärkten erstand, entstanden die ersten Show Cases, indem beispielsweise die Scheiben mit Packpapier verklebt, oder Metallschränkchen mit einer Glühbirne versehen wurden. Nach ihrer Emigration nach New York im Jahr 1964 führten sie die Arbeiten an dem Projekt weiter, wobei die beiden Künstler die Dimensionen der entstehenden Objekte veränderten. Aus metallenen Gerüsten und architektonischen Elementen entsteht nun das Store Front Project, für welches die bereits genutzten Elemente des Verhüllens durch Stoffe und Packpapier weiter eingesetzt werden. Wie für alle seiner Projekte fertigte Christo sehr exakte Vorzeichnungen uns Skizzen an, wie auch die uns vorliegende Arbeit beispielhaft belegt. Die detaillierte, in warmtoniger Emaillefarbe kolorierte Konstruktionszeichnung führt dem Betrachter vor Augen, dass die Künstler neben der Abschottung durch Verklebungen bei den Store Fronts zudem Wert darauf legen, die äußeren architektonischen Strukturen zu betonen. Der hier entstehende, für den Betrachter deutlich wahrnehmbare spannungsvolle Dialog zwischen Innen und Außen wurde in ausgeführter Form hierdurch verstärkt, dass die Store Fronts stets in einem geschlossenen Raum ausgestellt waren und sich hierdurch der gesamte Ausdruck des Raumes sowie die Wahrnehmung dessen veränderte. Die Store Fronts, so präsent sie in einem Raum platziert waren, blieben doch von ihrer Umgebung abgeschottet und schufen eine klare Distanz zum Betrachter. Ein nun vergleichender Blick auf die späteren, monumentalen Landart-Projekte des Künstlerduos zeigt, dass diese bereits in den Store Front Projects mit der Erschaffung neuer sowie der Veränderung bereits bestehender Räume und deren Umgebungen ihren Anfang fanden. - Weiterführend bzw. vgl. hierzu: Matthias Koddenberg, "Beyond Sculpture: Christo's Store Fronts and Indoor Installation". In: Cahiers d'Art, Paris, September 2020. Drawing in mixed media with collage, pencil, oil pastel and enamel colour on parchment paper. 71 x 56.5 cm. Signed, dated, inscribed and with further annotations in pencil. Mounted with staples on cardboard and with nails on wooden board. Presented in a plexiglas box. - Delicately browned due to paper, slightly light-stained in the margin, the mounting lightly showing through, with slight traces of use and minimally stained due to the technique, the lower left corner with a small loss and the backing card with faint waterstain. Good overall. The colours in fresh condition. Detailed design drawing and an exceptionally important work for the understanding of Christo's oeuvre. - Our work is registered with the Christo & Jeanne Claude Archive in New York, we thank them for kindly confirming its authenticity. - Christo and Jeanne-Claude began working on the Store Front Projects in the early 1960s, while still living in Paris back then. They created their first Show Cases from small display cabinets and cupboards, which Christo mainly found at flea markets, for example by gluing packing paper to the panes or fitting metal cabinets with a light bulb. After emigrating to New York in 1964, the two artists continued to work on the project, changing the dimensions of the objects they created. The Store Front Project was now realised from metal scaffolding and architectural elements, for which the already established elements of wrapping with fabric and packing paper were used further. As with all of his projects, Christo made very precise preparatory drawings and sketches, as exemplified by our work. The detailed construction drawing, coloured in warm-toned enamel paint, clearly indicates that, in addition to sealing off the store fronts with adhesive bonding, the artists also attach great importance to emphasising the external architectural structures. The resulting tense dialogue between interior and exterior, which is clearly perceptible to the viewer, was reinforced by the fact that the Store Fronts were always exhibited in a closed room, thereby changing the entire expression of the room and the perception of it. The Store Fronts, as central as they were placed in a room, remained isolated from their surroundings and created a clear distance to the observer. A comparative look at the artist duo's later, monumental land art projects shows that they already originated in the Store Front Projects with the creation of new spaces and the alteration of existing structures and their surroundings. - Cf: Matthias Koddenberg, 'Beyond Sculpture: Christo's Store Fronts and Indoor Installation'. In: Cahiers d'Art, Paris, September 2020.
Of Ethnological interest, rare to auction, a pencil Drawing of an indigenous woman in a grass skirt, inscribed "Trobriand" and "Papua" and "1921", 8 3/4" x 15", some small scuffs and tears, signed by the artist Ellis Luciano Silas; Australian war artist who spent four years in New Guinea (1921-1924), much of his art from this time residing in the British Museum.
JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) NUDE AT LA PETITE FARANDOLE, CAP D'ANTIBES (MARGARET MORRIS) Charcoal 20cm x 15cm (8in x 6in) Margaret Morris;Christie's Edinburgh, The Scottish Sale, 1st November 2001, lot 106;Private Collection, Scotland. 2024 marks the 150th anniversary of the birth of John Duncan Fergusson in Leith, near Edinburgh. He is arguably best known as one of the four ‘Scottish Colourists’, along with F. C. B. Cadell, G. L. Hunter and S. J. Peploe, who are revered as the masters of modern Scottish art. We are delighted to continue the celebration of this landmark year that we began in our sale on 6 June 2024.Fergusson’s advice to would-be artists was ‘always carry a small…sketch-book, a very soft pencil and make quick rough sketches of anything around you; never correct a sketch, just make another; don’t try to make a good drawing, you won’t – or by accident, you may! Just keep at it, you are training your eye to see and your hand to respond.’ (quoted by Margaret Morris in ed. Jean Geddes, Café Drawings in Edwardian Paris from the Sketch-books of J. D. Fergusson 1874-1961, Blackie, Glasgow, 1974, p.5)Indeed, Fergusson followed his own advice, usually had a sketchbook about his person and made sketching and drawing the foundation of his practice. The sketchbook presented here is of his favourite style (with navy covers) and size (slightly narrower than approximately A5) and could easily be tucked into a jacket pocket alongside a conté crayon or two. It could be retrieved as a scene or subject caught his eye and provided fruitful occupation whilst out and about, particularly whilst enjoying the cafés and parks of Paris. The contents of the sketchbook provide an intimate and direct glimpse into the artist’s creative process, as – with varying degrees of finish or suggestion – he captured on its pages subjects from male and female heads to standing figures, animals and a still life. Details such as hats, beards, jewellery and spectacles are enjoyed, whilst its back pages provided a useful repository for information, including a list of paintings and sculptures accompanied by their prices. Fergusson’s surety of line and enjoyment of the human figure can be seen in individual drawings such as Seated Man, in which the subject’s form is speedily realised in hatching and The Broad-Brimmed Hat, where the technique is this time used to emphasise the chic titular headgear of his sitter. The artist’s frank appreciation of the female form is clear in the curvaceous line of Seated Nude and Nude on a Balcony. Nude, Tazza and Fruit can be read as a metropolitan Eve, offering up an apple taken from the still life arrangement before the female model. It has references to Fergusson’s celebrated paintings of nudes made in pre-World War One Paris, showing the importance of the artist’s journey from page to canvas which underlay much of his work.
JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) SEATED NUDE Charcoal on brown paper 33.5cm x 26cm (13.25in x 10.25in) Christie's Edinburgh, The Scottish Sale, 31st October 2002, lot 142;Private Collection, Scotland. 2024 marks the 150th anniversary of the birth of John Duncan Fergusson in Leith, near Edinburgh. He is arguably best known as one of the four ‘Scottish Colourists’, along with F. C. B. Cadell, G. L. Hunter and S. J. Peploe, who are revered as the masters of modern Scottish art. We are delighted to continue the celebration of this landmark year that we began in our sale on 6 June 2024.Fergusson’s advice to would-be artists was ‘always carry a small…sketch-book, a very soft pencil and make quick rough sketches of anything around you; never correct a sketch, just make another; don’t try to make a good drawing, you won’t – or by accident, you may! Just keep at it, you are training your eye to see and your hand to respond.’ (quoted by Margaret Morris in ed. Jean Geddes, Café Drawings in Edwardian Paris from the Sketch-books of J. D. Fergusson 1874-1961, Blackie, Glasgow, 1974, p.5)Indeed, Fergusson followed his own advice, usually had a sketchbook about his person and made sketching and drawing the foundation of his practice. The sketchbook presented here is of his favourite style (with navy covers) and size (slightly narrower than approximately A5) and could easily be tucked into a jacket pocket alongside a conté crayon or two. It could be retrieved as a scene or subject caught his eye and provided fruitful occupation whilst out and about, particularly whilst enjoying the cafés and parks of Paris. The contents of the sketchbook provide an intimate and direct glimpse into the artist’s creative process, as – with varying degrees of finish or suggestion – he captured on its pages subjects from male and female heads to standing figures, animals and a still life. Details such as hats, beards, jewellery and spectacles are enjoyed, whilst its back pages provided a useful repository for information, including a list of paintings and sculptures accompanied by their prices. Fergusson’s surety of line and enjoyment of the human figure can be seen in individual drawings such as Seated Man, in which the subject’s form is speedily realised in hatching and The Broad-Brimmed Hat, where the technique is this time used to emphasise the chic titular headgear of his sitter. The artist’s frank appreciation of the female form is clear in the curvaceous line of Seated Nude and Nude on a Balcony. Nude, Tazza and Fruit can be read as a metropolitan Eve, offering up an apple taken from the still life arrangement before the female model. It has references to Fergusson’s celebrated paintings of nudes made in pre-World War One Paris, showing the importance of the artist’s journey from page to canvas which underlay much of his work.
JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) SEATED MAN Conté 20cm x 12cm (8in x 4.75in) 2024 marks the 150th anniversary of the birth of John Duncan Fergusson in Leith, near Edinburgh. He is arguably best known as one of the four ‘Scottish Colourists’, along with F. C. B. Cadell, G. L. Hunter and S. J. Peploe, who are revered as the masters of modern Scottish art. We are delighted to continue the celebration of this landmark year that we began in our sale on 6 June 2024.Fergusson’s advice to would-be artists was ‘always carry a small…sketch-book, a very soft pencil and make quick rough sketches of anything around you; never correct a sketch, just make another; don’t try to make a good drawing, you won’t – or by accident, you may! Just keep at it, you are training your eye to see and your hand to respond.’ (quoted by Margaret Morris in ed. Jean Geddes, Café Drawings in Edwardian Paris from the Sketch-books of J. D. Fergusson 1874-1961, Blackie, Glasgow, 1974, p.5)Indeed, Fergusson followed his own advice, usually had a sketchbook about his person and made sketching and drawing the foundation of his practice. The sketchbook presented here is of his favourite style (with navy covers) and size (slightly narrower than approximately A5) and could easily be tucked into a jacket pocket alongside a conté crayon or two. It could be retrieved as a scene or subject caught his eye and provided fruitful occupation whilst out and about, particularly whilst enjoying the cafés and parks of Paris. The contents of the sketchbook provide an intimate and direct glimpse into the artist’s creative process, as – with varying degrees of finish or suggestion – he captured on its pages subjects from male and female heads to standing figures, animals and a still life. Details such as hats, beards, jewellery and spectacles are enjoyed, whilst its back pages provided a useful repository for information, including a list of paintings and sculptures accompanied by their prices. Fergusson’s surety of line and enjoyment of the human figure can be seen in individual drawings such as Seated Man, in which the subject’s form is speedily realised in hatching and The Broad-Brimmed Hat, where the technique is this time used to emphasise the chic titular headgear of his sitter. The artist’s frank appreciation of the female form is clear in the curvaceous line of Seated Nude and Nude on a Balcony. Nude, Tazza and Fruit can be read as a metropolitan Eve, offering up an apple taken from the still life arrangement before the female model. It has references to Fergusson’s celebrated paintings of nudes made in pre-World War One Paris, showing the importance of the artist’s journey from page to canvas which underlay much of his work.
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