Georg Baselitz, Piet M.Öl auf Leinwand 165 × 100 cm. Gerahmt. Rückseitig auf der Leinwand signiert, datiert und betitelt 'G.Baselitz Piet M. 10.VI. 018'.ProvenienzGagosian Gallery, New York (mit rückseitigem Aufkleber); Privatsammlung, SchweizAusstellungenNew York 2019 (Gagosian Gallery), Georg Baselitz, Devotion, Ausst.Kat.Nr.19, S.23 und S.159 mit Farbabb.Die ersten Porträts erarbeitet Georg Baselitz 1969, als er gerade begonnen hat, seine Motive um 180 Grad gedreht zu malen. „Die Wahl des Portraits als Sujet war mit dem verbunden, was ich versucht habe zu machen. Es war wichtig, etwas zu malen, das konventionell war, ein traditionelles Genre wie die Portraitmalerei, so dass das Sujet nicht vom gemalten Bild, vom Akt des Malens ablenken würde“, erläutert der Künstler. Die ersten Bildnisse dieser Art sind Porträts seiner Frau und von Freunden. „Erst als ich begann, Dinge verkehrt herum zu malen, kam mir der Gedanke, ich könnte sie malen, weil dadurch alles neutraler wurde. Wenn man jemanden verkehrt herum malt, ist es schwierig, ihm einen Ausdruck oder zumindest einen konventionellen Ausdruck zu geben. […] Ich fange mit einer Idee an, aber während des Arbeitens übernimmt das Bild die Führung. Dann findet eine Auseinandersetzung statt zwischen meiner vorgefassten Bildidee und dem Bild, das um sein Eigenleben kämpft.“ (Georg Baselitz, Gesammelte Schriften und Interviews, Detlev Gretenkort (Hg.), München 2011, S.272f.)Damit umgeht Baselitz einen Automatismus, den er jedem Maler zuschreibt: jedes Sujet grundsätzlich und unwillkürlich so subjektiv wahrzunehmen und wiederzugeben, dass es zu einer Art Selbstporträt des Künstlers wird. Ausgehend von dieser Erkenntnis widmet sich Baselitz im Jahr 2018 in zahlreichen Gemälden und Zeichnungen Künstlerpersönlichkeiten, die ihm viel bedeuten. Ausgangspunkt dieser Arbeiten sind Selbstporträts, die die betreffenden Künstler einst von sich geschaffen haben. In monumentalen Dimensionen entsteht nicht nur das auf dem Kopf stehende Brustbild von Piet Mondrian in dieser Auktion, sondern auch u.a. das Porträt von Mark Rothko, Paula Modersohn-Becker, Alexander Calder, Otto Dix, Tracey Emin und Philip Guston. Allen Porträts ist die unverwechselbare Handschrift Georg Baselitz‘ eigen. Er erschafft so eine Porträtgalerie der von ihm verehrten Künstlerpersönlichkeiten, geprägt und gefiltert durch seine individuelle Sichtweise. Unter dem Titel „Devotion“ vereinigt die Gagosian Gallery diese Werkserie 2019 in einer großen Ausstellung. Piet Mondrians „Zelfportret“ von 1918, heute im Kunstmuseum Den Haag (s. Abb.), bildet wohl die Grundlage für „Piet M.“. Baselitz‘ Interpretation zeigt den Kopf des Malers in enormer Vergrößerung umgeben von einer Art Gloriole kopfüber vor dunklem Grund schwebend, was ihm eine zugleich monumentale wie stark abstrahierte Präsenz verleiht.
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Aubrey Williams, Guyanese/British 1926-1990 - Guiana, 1963; oil on paper, signed, dated and titled lower right 'Aubrey Williams 63 Guiana' and titled again on the reverse of the frame, 59 x 76.5 cm (ARR) Provenance: private collection and thence by descent Note: this piece is typical of Williams's style of the 1960s, combining abstract impressionist tendencies with the forms and symbols of the pre-Colombian art of the indigenous inhabitants of the Americas. Williams was strongly influenced by American artists associated with Abstract Expressionist such as Jackson Pollock, Mark Rothko and Willem de Kooning, having seen major exhibitions of their works at the Tate Gallery in London in 1956 and 1959. After moving to the city in the 1950s, Williams became a major figure in the London art world, especially through his connection with the South African artist Denis Bowen, who founded the New Visions Gallery in London. Williams co-founded the Caribbean Artists Movement with other London-based Caribbean artists and intellectuals, such as Ronald Moody, Stuart Hall and Orlando Patterson. His artwork is currently in the collection of the Tate in London, the Arts Council, the Royal Albert Memorial Museum and the Bristol Museum and Gallery, among others. His work was central to the 2022 exhibition, 'Post-war Modern: New Art in Britain 1945-1965' at the Barbican Centre, London and other recent internationally acclaimed shows including 'Life Between Islands: Caribbean-British Art 50s – Now', 2021 at Tate Britain and 'The Gift of Art', 2018 at the Perez Art Museum, Miami.
Aubrey Williams, Guyanese/British 1926-1990 - Kumaka, 1963; oil and mixed media on canvas, signed, dated and titled on the reverse 'Aubrey Williams 63 Kumaka', 71 x 81.3 cm (ARR) Provenance:private collection and thence by descent Note: Kumaka refers to a village in Williams's native Guyana. This piece is typical of Williams's style of the 1960s, combining abstract impressionist tendencies with the forms and symbols of the pre-Colombian art of the indigenous inhabitants of the Americas. Williams was strongly influenced by American artists associated with Abstract Expressionist such as Jackson Pollock, Mark Rothko and Willem de Kooning, having seen major exhibitions of their works at the Tate Gallery in London in 1956 and 1959. After moving to the city in the 1950s, Williams became a major figure in the London art world, especially through his connection with the South African artist Denis Bowen, who founded the New Visions Gallery in London. Williams co-founded the Caribbean Artists Movement with other London-based Caribbean artists and intellectuals, such as Ronald Moody, Stuart Hall and Orlando Patterson. His artwork is currently in the collection of the Tate in London, the Arts Council, the Royal Albert Memorial Museum and the Bristol Museum and Gallery, among others. His work was central to the 2022 exhibition, 'Post-war Modern: New Art in Britain 1945-1965' at the Barbican Centre, London and other recent internationally acclaimed shows including 'Life Between Islands: Caribbean-British Art 50s – Now', 2021 at Tate Britain and 'The Gift of Art', 2018 at the Perez Art Museum, Miami.
Bridget Riley CH CBE, British b.1931-Untitled, 1973;screenprint in colours on Aquarelle Arches wove, signed in pencil, dated and numbered 27/75, from the Mark Rothko memorial portfolio, co-published by Verlag Berlin and the Mark Rothko Memorial Trust, London, sheet: 71 x 91 cm, (framed) (ARR)
Marc Rothko, Ohne Titel, hochwertiger Domberger- Siebdruck um 1970 nach einem Original von 1969 im Ulmer Kunst- MuseumMark Rothko, 1903 Dwinsk, Russisches Kaiserreich als Marcus Rotkovich - 1970 New York, bedeutender US-amerikanischer Maler des Abstrakten Expressionismus und Wegbereiter der Farbfeldmalerei, hier: Dunkelorange und Pink auf Hellorange, hochwertiger Farbsiebdruck der Edition Domberger nach einem Original von 1969 im Ulmer Kunstmuseum (Sammlung Kurt Fried), 82 x 60 cm, l. u. Prägestempel "Domberger Siebdruck", das Blatt in sehr guter Erhaltung"Mark Rothkos Gemälde im Ulmer Museum gehört zur so genannten "Farbfeldmalerei", die sich mit den Erscheinungsformen der Farbe und deren Einordnung in einem strengen formalen System im Bild beschäftigt. Die Ränder der Farbfelder verschwimmen in einer Weise, als hätte man einen durchsichtigen Schleier über das Gemälde gebreitet. Rothko erreichte eine Dreidimensionalität der Fläche, indem er die Farbe verwischte und weiche Übergänge zwischen Farbfeld und Hintergrundfarbe schaffte. Die Farbe war ihm immer Mittel zum Zweck, um Räume darzustellen. Obwohl sich Rothko über die suggestive und symbolische Aussage der einzelnen Farben im Klaren war, benutzte er sie jedoch nicht im Sinne einer herkömmlichen Farbenpsychologie. In allen seinen Werken ist das gleiche räumliche Erlebnis nachvollziehbar, das gleiche Vor und Zurück der unterschiedlichen Farbstrukturen kann ungeachtet der verwendeten Farbe erlebt werden, die gleiche meditative Wirkung stellt sich ein"
JOHN PIPER C.H. (BRITISH 1903-1992) POINTE DU CHATEAU, BRITTANY, c.1960 oil on canvas 71.6cm x 91.6cm (28 ¼in x 36 1/8in) with Marlborough Fine Art, London (mis-labelled as Garn Fawr);Sotheby's London, Modern British & Irish Art, 5 December 2001, lot 54 (sold as Garn Fawr), where acquired by the present owner. Exhibited:Portland Gallery, London, John Piper (1903-1992), 22 February - 10 March 2023, p. 23, illustrated in catalogue. Pointe de Chateau, Brittany was painted on one of Piper’s frequent visits to the French peninsula during the 1960s, where he studied and drew the rocky beaches repeatedly. The current work is markedly different from Piper’s earlier portrayals of the mountains of Snowdonia or the quarries of Portland, which are far more literal representations. Pointe de Chateau, by contrast, is much more abstract, the landscape providing a starting-off point for layers of luminous colour, broad gestural brushstrokes and spontaneous lines of black that dance around the canvas, outlining the stones, cliffs and buildings but also acting independently, as gestures in their own right. Piper is thought to have been inspired by the exhibitions of American Abstract Expressionism at the Tate in the late 50s, where he would have seen works by the likes of Willem de Kooning, Mark Rothko and Jackson Pollock.The significance of this work - in particular, the suggestion that it shows the immediate influence of American painting - has only recently come to light, following a reappraisal of its true date of execution and subject matter, as the painting had previously been mis-labelled by Piper's dealers.
Sammlung von ca. 350 Werke zur Kunst. Enthält Monographien, Werkverzeichnisse, Ausstellungs- und Sammlungskataloge etc., u.a. von bzw. über R. Geiger, J. Holzer, Mondrian, Rothko, Mel Ramos, B. Heiliger, W. Baumeister, De Chirico, Menzel, Boticelli, Turner, Poussin, Galerie Nierendorf 1920-1970 u.v.m. Photographien auf Anfrage. Die Sammlung lagert aufgrund der Menge an einem Außenstandort. Besichtigung nur nach vorheriger Terminvereinbarung. Contains monographs, catalogs raisonnés, exhibition and collection catalogs etc., e.g. by or about R. Geiger, J. Holzer, Mondrian, Rothko, Mel Ramos, B. Heiliger, W. Baumeister, De Chirico, Menzel, Boticelli, Turner, Poussin, Galerie Nierendorf 1920-1970 and many more. Photographs on request. Due to the quantity, the collection is stored at an external location. Viewing by appointment only.
Bridget Riley (b.1931)Hommage to Rothko (Tommasini & Gubay 20)Screenprint in colours, 1973, signed and dated in pencil, numbered from the edition of 75, printed by Kelpra Studio, London, with their ink stamp verso, published by Propyläen Verlag, Berlin, on wove paper, sheet 708 x 912mm (28 x 36in)
LAWRENCE CALCAGNO (1916-1993)Rio Grande signed and dated 'Larry Calcagno 1972' (lower right)oil and mixed media on paper56.5 x 76.2cm (22 1/4 x 30in).Executed in 1972Footnotes:ProvenancePrivate Collection, New Mexico.203 Fine Art, Taos, New Mexico.Acquired from the above by the present owner.The abstract expressionist, Lawrence Calcagno held his first solo show at the famed Martha Jackson gallery in 1955, and the artist went on to hold approximately eighty solo exhibitions and feature in a total of nine Whitney Biennials. Even with such a storied pedigree, the artist's career is only now receiving it's due.Hailing from the Bay Area, Calcagno studied at the California School of Fine Arts where he found his personal style of bands of bold colours, suggestive of the horizon. Whilst studying at CSFA, Calcagno was instructed by, and interacted with, some of the most prominent figures in the Abstract Expressionist movement, including Clyfford Still, Mark Rothko, Ad Reinhardt and Richard Diebenkorn, all of whom significantly influenced Calcagno's development. Visiting Paris in the 1950s, the artist became an intimate of Beauford Delaney, and relationship that would continue for decades. And their work too enjoyed a relationship, abstracts investigating the almost mystical nature of painting.The 1970s represented a period of artistic maturity and refinement for Calcagno, where he fully embraced the abstract expressionist style that he had been developing over the previous decades. His works from this era are marked by an intense focus on colour, light, and space, which often conveyed a sense of spiritual depth and emotional resonance, beautifully evidenced in this present work. While many of his earlier works had direct references to nature and the landscapes of the American West, by the 1970s, his paintings became increasingly abstract. Rather than depicting specific places, his work sought to capture the feeling or essence of the landscape. His pieces evoke the expansiveness of the desert or the vastness of the sky without literal representation. Calcagno's work during the 1970s also reflected his belief in art as a pathway to understanding life's deeper mysteries. He often spoke about how his paintings were less about depicting the external world and more about an inner exploration of his thoughts and emotions. His work is frequently described as 'spiritual abstraction,' and he was influenced by his travels to the American Southwest, where he found inspiration in the landscape's vastness and quiet beauty.Today, Calcagno's work can be found in numerous museums and institutions, including the Museum of Modern Art, (MoMA), the Whitney Museum of American Art, the Smithsonian Institution, the Boston Museum of Fine Arts and the Carnegie Museum of Art, among others.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
William Scott CBE RA (1913 - 1989) Still Life, 1957 Gouache on paper, 51 x 74cm Signed lower rightProvenance: Purchased directly by Miss Deborah Brown from the Hanover Gallery on 2 March 1959Exhibited Belfast 'William Scott', Ulster Museum in 1963 catalogue no.63; Banbridge, 'William Scott', F.E.Mc William Gallery, in 2009 catalogue no.12Throughout the 1950s, Deborah Brown’s work became increasingly abstracted, partly due to the experience of painting stage sets and designs for Mary O’Malley at the Lyric Theatre, until in 1958 she began to make her first gestural non-representational paintings, in which her interest in musical structure and effect were influential. Although keenly engaged with American and European contemporaries, such as Pollock, Rothko and de Staël, she quickly began to explore three-dimensionality, breaking through the canvas surface and adding everyday materials in a manner that foreshadowed the emergence of the Arte Povera movement later in the decade. From the mid-1960s, Brown used fibreglass in a sculptural manner on canvas or board and eventually began to make independent three-dimensional fibreglass works.
* ALAN DAVIE CBE RA HRSA RWA (SCOTTISH 1920 - 2014) LEAP FOR JOY oil and felt tip pen on paper, signed, titled and dated 2011mounted and framedimage size 37cm x 50cm, overall size 55cm x 68cm Label verso: Gimpel Fils, LondonNote: Alan Davie was recognised internationally as a new radical force in modern painting and was hailed by art critic Alan Bowness as, alongside Francis Bacon, one of the most influential artist of his time. He was an artist who created his own unique style, thoroughly spontaneous, and on drawing from a number of different interests, including his own experiences of primitive art, Abstract Expressionism, Surrealism and Zen Buddhism. However, despite his diverse influences, a Davie painting could never be mistaken for anyone else's work. Alan Davie first trained as a painter at Edinburgh College of Art where he also took up jazz music, and earned money as a musician, poet and jeweller. After his marriage in 1947 to fellow art student Janet Gaul, he travelled widely in Europe and for the first time was exposed to Italian masterpieces such as Cimabue and Giotto in Florence, before meeting Peggy Guggenheim in Venice who introduced him to Pollock's early work. Her recognition and later patronage of his work propelled him onto the international arena. When Davie returned to England he was taken on by the London gallery Gimpel Fils, where he had his first solo exhibition and from then on had the support of both the gallery and the Gimpel family. Initially however, it was in America where he experienced the greatest success; at his first New York exhibition, every painting sold mostly to major institutions and in 1956, when he first visited New York, the city's major artists of the day turned out to meet him, including Pollock and Rothko. In 1957 he showed work at the Museum of Modern Art in Paris and at the Guggenheim in New York. In 1958, he was part of the Critic's Choice Exhibition selected by David Sylvester and in the same year he represented Britain at the Venice Biennale. Alan Davie's work has been widely exhibited and is included in numerous international public and private collections, including the Tate Britain, the Arts Council of Great Britain, the Victoria & Albert Museum, the Foundation Maeght and the Museum of Modern Art, New York. His exuberant and expressive paintings possess a unique force that can be associated with the New York School and also the St Ives School, yet he also stood alone from these groups. He borrowed freely from all cultures, and it is the combination of these experiences, together with his freedom of expression, that gives Davie his unique style.
* BRUCE TIPPETT (BRITISH 1933 - 2017), LANDSCAPE WITH REEDS charcoal on paper, signed and dated '08mounted, framed and under glassimage size 43cm x 53cm, overall size 75cm x 82cm Note: Bruce Tippett was a British born artist who was championed by Philip Granville (Lord's Gallery, London) and the legendary Betty Parsons (Betty Parsons Gallery, New York) and others. Jane England writes in her 1992 catalogue : "In 1957, he (Tippett) saw Japanese brush paintings for the first time at the British Museum (which now houses nine Bruce Tippett drawings). He recalls now that 'Something awoke in me and I entered another realm'. The works of the Japanese calligraphers inspired him by their mixture of spontaneity and contemplation. Like the Zen masters, Tippett achieved spontaneity by constantly paring down the image and concentrating on its essential spirit, with no sign of the struggle involved. When Tippett first saw a work by Hartung at Gimpel Fils in May 1958, he was struck by the similarities of their respective calligraphic styles. These similarities had different origins. In Tippett's case the energetic strokes and lines came from his early drawings of reeds and stakes in marsh landscapes and the studies he had made of building structures, whereas Hartung's expressive calligraphy came from his early experiments with automatism." Alan Bowness pointed out in his "Portrait of the Artist" (1958) that "having made the first steps on his own Tippett realized that the calligraphic paintings of Hartung pointed in the direction he wished to go but by the end of 1957 Tippett had reached something that was recognizably an original manner, and the drawings done then and at the beginning of this year have a remarkable ease and assurance." After Peggy Guggenheim closed her Art of This Century Gallery in 1947, Parsons was one of only a very few gallery owners to promote avant-garde American art at a time when the commercial demand for it was minuscule. The Betty Parsons Gallery was also, for a considerable time, the only gallery in the US which promoted and supported Abstract Expressionism. Parsons played a major and significant role in establishing New York as the centre of the art world and Jackson Pollock, Mark Rothko, William Congdon, Clyfford Still, Theodorus Stamos, Ellsworth Kelly, Hedda Sterne, Forrest Bess, Michael Loew, Lyman Kipp, Judith Godwin, Tony Smith, Robert Rauschenberg, Barnett Newman and many other artists owed much to Betty Parsons. Bruce Tippett first visited New York in 1965 when Dorothy Miller bought one of his paintings for MOMA. He met Betty Parsons at the Venice Biennale in 1966 and immediately afterwards she visited his studio in Rome and bought several paintings and drawings for her gallery. Bruce Tippett exhibited regularly at The Betty Parsons Gallery (New York) from 1967 and had his last solo show there in 1981, the year before Betty Parsons died. Bruce Tippett continued to exhibit in the US and the UK and even more frequently in Italy and France. He died in France in 2017, where he had lived and worked since 2005. His work is held in some of the most important collections in the US and Europe including The Louvre (Paris), The British Museum (London), Galleria Nazionale d’Arte Moderna (Rome) and MOMA (New York), yet in his country of birth, his work remains relatively unknown.
* ALAN DAVIE CBE RA HRSA RWA (SCOTTISH 1920 - 2014) UNTITLED pen on paper, signed and dated 2011mounted, framed and under glassimage size 13cm x 12cm, overall size 32cm x 30.5cmNote: Alan Davie was recognised internationally as a new radical force in modern painting and was hailed by art critic Alan Bowness as, alongside Francis Bacon, one of the most influential artist of his time. He was an artist who created his own unique style, thoroughly spontaneous, and on drawing from a number of different interests, including his own experiences of primitive art, Abstract Expressionism, Surrealism and Zen Buddhism. However, despite his diverse influences, a Davie painting could never be mistaken for anyone else's work. Alan Davie first trained as a painter at Edinburgh College of Art where he also took up jazz music, and earned money as a musician, poet and jeweller. After his marriage in 1947 to fellow art student Janet Gaul, he travelled widely in Europe and for the first time was exposed to Italian masterpieces such as Cimabue and Giotto in Florence, before meeting Peggy Guggenheim in Venice who introduced him to Pollock's early work. Her recognition and later patronage of his work propelled him onto the international arena. When Davie returned to England he was taken on by the London gallery Gimpel Fils, where he had his first solo exhibition and from then on had the support of both the gallery and the Gimpel family. Initially however, it was in America where he experienced the greatest success; at his first New York exhibition, every painting sold mostly to major institutions and in 1956, when he first visited New York, the city's major artists of the day turned out to meet him, including Pollock and Rothko. In 1957 he showed work at the Museum of Modern Art in Paris and at the Guggenheim in New York. In 1958, he was part of the Critic's Choice Exhibition selected by David Sylvester and in the same year he represented Britain at the Venice Biennale. Alan Davie's work has been widely exhibited and is included in numerous international public and private collections, including the Tate Britain, the Arts Council of Great Britain, the Victoria & Albert Museum, the Foundation Maeght and the Museum of Modern Art, New York. His exuberant and expressive paintings possess a unique force that can be associated with the New York School and also the St Ives School, yet he also stood alone from these groups. He borrowed freely from all cultures, and it is the combination of these experiences, together with his freedom of expression, that gives Davie his unique style.
Aubrey Williams, Guyanese/British 1926-1990 - Kumaka, 1963; oil and mixed media on canvas, signed, dated and titled on the reverse 'Aubrey Williams 63 Kumaka', 71 x 81.3 cm (ARR) Provenance:private collection and thence by descent Note: Kumaka refers to a village in Williams's native Guyana. This piece is typical of Williams's style of the 1960s, combining abstract impressionist tendencies with the forms and symbols of the pre-Colombian art of the indigenous inhabitants of the Americas. Williams was strongly influenced by American artists associated with Abstract Expressionist such as Jackson Pollock, Mark Rothko and Willem de Kooning, having seen major exhibitions of their works at the Tate Gallery in London in 1956 and 1959. After moving to the city in the 1950s, Williams became a major figure in the London art world, especially through his connection with the South African artist Denis Bowen, who founded the New Visions Gallery in London. Williams co-founded the Caribbean Artists Movement with other London-based Caribbean artists and intellectuals, such as Ronald Moody, Stuart Hall and Orlando Patterson. His artwork is currently in the collection of the Tate in London, the Arts Council, the Royal Albert Memorial Museum and the Bristol Museum and Gallery, among others. His work was central to the 2022 exhibition, 'Post-war Modern: New Art in Britain 1945-1965' at the Barbican Centre, London and other recent internationally acclaimed shows including 'Life Between Islands: Caribbean-British Art 50s – Now', 2021 at Tate Britain and 'The Gift of Art', 2018 at the Perez Art Museum, Miami.
Aubrey Williams, Guyanese/British 1926-1990 - Guiana, 1963; oil on paper, signed, dated and titled lower right 'Aubrey Williams 63 Guiana' and titled again on the reverse of the frame, 59 x 76.5 cm (ARR) Provenance: private collection and thence by descent Note: this piece is typical of Williams's style of the 1960s, combining abstract impressionist tendencies with the forms and symbols of the pre-Colombian art of the indigenous inhabitants of the Americas. Williams was strongly influenced by American artists associated with Abstract Expressionist such as Jackson Pollock, Mark Rothko and Willem de Kooning, having seen major exhibitions of their works at the Tate Gallery in London in 1956 and 1959. After moving to the city in the 1950s, Williams became a major figure in the London art world, especially through his connection with the South African artist Denis Bowen, who founded the New Visions Gallery in London. Williams co-founded the Caribbean Artists Movement with other London-based Caribbean artists and intellectuals, such as Ronald Moody, Stuart Hall and Orlando Patterson. His artwork is currently in the collection of the Tate in London, the Arts Council, the Royal Albert Memorial Museum and the Bristol Museum and Gallery, among others. His work was central to the 2022 exhibition, 'Post-war Modern: New Art in Britain 1945-1965' at the Barbican Centre, London and other recent internationally acclaimed shows including 'Life Between Islands: Caribbean-British Art 50s – Now', 2021 at Tate Britain and 'The Gift of Art', 2018 at the Perez Art Museum, Miami.
Peter Kalkhof (1933-2014) Space and Colour, Horizon Blue and Green Acrylic on canvas, 37 x 37cm Signed, inscribed and dated 1973 verso Provenance: Annely Juda Gallery, label versoBorn in 1933 in Germany, Peter Kalkhof studied painting at the School of Arts and Crafts, Braunschweig and the Academy of Fine Art, Stuttgart followed by time spent in London at the Slade School of Art and École des Beaux-Arts in Paris in the early 1960’s. In 1963 he settled in London and from 1964 (through to 1999) he taught Fine Art at Reading University. Kalkhof was an important pioneer and co-initiator, as well as a proponent, of the dominant art movements in the 1970s which are variously known as Concrete Art, OP Art, New Geometry, Hard Edge or Post-Painterly Abstraction. In the middle of the 1960s Peter Kalkhof developed the principle of Colour & Space, the basis of his artistic life’s work. He was deeply influenced by the transcendental abstractions of artists like Malevich, Kandinsky and Rothko. His artworks are described by his friend and colleague, art historian Roger Cook, as: ‘Numinous evocations of light and colour addressed to a world after the death of God in which profane space recovers its sacred origin; images which renew man's ancient experience of ‘sacred space’.’(1977) Kalkhof is represented by Annely Juda Fine Art in London.
Rachel Howard, British b.1969 - Dead Spit (Diptych), 2011; acrylic, oil and household paint on canvas laid down on board, diptych, 38.2 x 38.2 cm and 25.5 x 25.8 cm (unframed) (2) (ARR) Provenance: with Blain|Southern Gallery, London, 36909 (according to the label attached to the reverse); The Collection of Ralph I. Goldenberg Note: Howard is considered to be one of the most influential British Contemporary artists of the 21st Century, producing emotionally charged abstract compositions. In this exemplary mature work, Howard uses household gloss paint, often mixed with acrylic, to speak about the fragility and tragedy of the human condition. The pigment and clear varnish are applied to the edges of the canvas which then, through gravity, spreads downwards to create strong vertical lines. The large scale envelops the viewer in washes and veils of colour, in the tradition of Rothko and the Abstract Expressionists and have been described as 'a psychological and physical battle' by Sue Hubbard. Graduating from Goldsmiths College, London in 1991, Howard would go on to receive The Princes Trust Award in 1992, shortlisted in 2004 for the Jerwood Drawing Prize, and eventually gaining a British Council Award in 2008. During her studies at Goldsmiths, Howard became friends with fellow student Damien Hirst who employed her as his assistant to execute his Spot paintings.Howard was recently the subject of a solo exhibition at MASS MoCA, Massachusetts, US, and her works are in the collections of the Arts Council Collection, UK, Imperial War Museum, London and the Victoria and Albert Museum, London. Her work was recently part of the exhibition ‘BIG WOMEN’ at FirstSite, Colchester, curated by fellow Goldsmiths alumni Sarah Lucas, alongside Gillian Wearing and Polly Morgan.
A collection of 50+ assorted modern art books and catalogues, good quantity modern and 20th Century British art & sculpture etc, including Henry Moore, Barbara Hepworth, David Hockney, Lucian Freud, Euan Uglow, Terry Frost, David Wilde, Edward Middleditch, Peter Randall-Page, Mark Shields, Matthew Smith, Rachel Howard, William Turnbull, Peter de Francia etc, plus others Mark Rothko, Kasimir Malevich, Picasso, Pierre Bonnard, Jackson Pollock, Paul Feiler, Martin Bloch, Antoni Tapies, Fernando Botero, Leo Wesel, Wolfgang Ellenrieder, Tenzing Rigdol, plus a few photography including Marc Atkins, Josephine Pryde, Hak Tae Lim etc (50+)
acrylic on canvas, signed and dated 2020, titled label verso framed and under glass image size 59cm x 49cm, overall size 67cm x 56cm Label verso: Open Eye Gallery, Edinburgh Note: Adrian Wiszniewski creates work characterised by a strong drawing element and fertile imagination. Populated with contemplative figures set in vividly coloured Arcadian landscapes, his paintings are rich with symbolic, political and philosophical depths. Adrian Wiszniewski (pronounced Vishnevski) was born in Glasgow in 1958 and studied architecture at The Mackintosh School of Architecture in Glasgow 1975–79; then trained at Glasgow School of Art, 1979–83. Wiszniewski is one of the leading members of the New Glasgow Boys responsible for the revival and resurgence of figurative painting under the tutelage of Sandy Moffat OBE; a group of artists that included Steven Campbell, Ken Currie and Peter Howson. His multiple awards include the Haldane Trust Award in 1982, the David Cargill Scholarship in 1983, the Mark Rothko Memorial Award in 1984, the I.C.C.F. Best Design Award New York in 1993 and the Lord Provost Gold Medal from City of Glasgow in 1999. His work can be found in many international public collections including The Gallery of Modern Art in New York, The Metropolitan Museum, New York, The Setagaya Museum, Tokyo, Japan, The Scottish National Gallery of Modern Art, Edinburgh, Tate Britain, London and The Victoria and Albert Museum, London. Wiszniewski has had numerous major solo exhibitions over many years including in London, Sydney, Edinburgh, Glasgow, Ghent and Tokyo.
* ADRIAN WISZNIEWSKI RSA HonFRIAS HRSW (SCOTTISH b. 1958), ART SCHOOL acrylic on canvas, signed and dated 2020, titled label versoframed and under glass image size 59cm x 49cm, overall size 67cm x 56cmLabel verso: Open Eye Gallery, EdinburghNote: Adrian Wiszniewski creates work characterised by a strong drawing element and fertile imagination. Populated with contemplative figures set in vividly coloured Arcadian landscapes, his paintings are rich with symbolic, political and philosophical depths. Adrian Wiszniewski (pronounced Vishnevski) was born in Glasgow in 1958 and studied architecture at The Mackintosh School of Architecture in Glasgow 1975–79; then trained at Glasgow School of Art, 1979–83. Wiszniewski is one of the leading members of the New Glasgow Boys responsible for the revival and resurgence of figurative painting under the tutelage of Sandy Moffat OBE; a group of artists that included Steven Campbell, Ken Currie and Peter Howson. His multiple awards include the Haldane Trust Award in 1982, the David Cargill Scholarship in 1983, the Mark Rothko Memorial Award in 1984, the I.C.C.F. Best Design Award New York in 1993 and the Lord Provost Gold Medal from City of Glasgow in 1999. His work can be found in many international public collections including The Gallery of Modern Art in New York, The Metropolitan Museum, New York, The Setagaya Museum, Tokyo, Japan, The Scottish National Gallery of Modern Art, Edinburgh, Tate Britain, London and The Victoria and Albert Museum, London. Wiszniewski has had numerous major solo exhibitions over many years including in London, Sydney, Edinburgh, Glasgow, Ghent and Tokyo.
* ADRIAN WISZNIEWSKI RSA HonFRIAS HRSW (SCOTTISH b. 1958), STILL WATERS mixed media on canvas, signed and dated '18, titled label versoframed image size 50cm x 60cm, overall size 60cm x 70cm Label verso: Open Eye Gallery, Edinburgh.Note: Adrian Wiszniewski creates work characterised by a strong drawing element and fertile imagination. Populated with contemplative figures set in vividly coloured Arcadian landscapes, his paintings are rich with symbolic, political and philosophical depths. Adrian Wiszniewski (pronounced Vishnevski) was born in Glasgow in 1958 and studied architecture at The Mackintosh School of Architecture in Glasgow 1975–79; then trained at Glasgow School of Art, 1979–83. Wiszniewski is one of the leading members of the New Glasgow Boys responsible for the revival and resurgence of figurative painting under the tutelage of Sandy Moffat OBE; a group of artists that included Steven Campbell, Ken Currie and Peter Howson. His multiple awards include the Haldane Trust Award in 1982, the David Cargill Scholarship in 1983, the Mark Rothko Memorial Award in 1984, the I.C.C.F. Best Design Award New York in 1993 and the Lord Provost Gold Medal from City of Glasgow in 1999. His work can be found in many international public collections including The Gallery of Modern Art in New York, The Metropolitan Museum, New York, The Setagaya Museum, Tokyo, Japan, The Scottish National Gallery of Modern Art, Edinburgh, Tate Britain, London and The Victoria and Albert Museum, London. Wiszniewski has had numerous major solo exhibitions over many years including in London, Sydney, Edinburgh, Glasgow, Ghent and Tokyo.
Two Shoichi Hasegawa etchings on Moulin du Gue paper: Shoichi Hasegawa (Japanese, b. 1929) Fleuve Tranquille Etching on Moulin du Gue paper Signed and titled in pencil on margins Numbered 58/110 Framed 62 x 52cm ( 24" x 20.2") Shoichi Hasegawa (Japanese, b. 1929) Printemps sur la ville, 1985 Etching on Moulin du Gue paper Signed and titled in pencil on margins Numbered 100/110 Framed 62 x 52cm ( 24" x 20.2") Shoichi Hasegawa (Japanese, b 1929) is a contemporary Japanese abstract painter and printmaker. His watercolors, transparent yet dense and symbolically coded, are influenced by Lyrical Abstraction and artists like Mark Rothko and Paul Klee. He employs soft, pastel palettes and layered textures to create works that reflect the laborious process that goes into their making. Born in Yazu, Japan in 1929, Hasegawa studied drawing and painting at the Kokuga Institute in Kyoto, Japan. In 1961, he moved to Paris to work with the British artist Stanley William Hayter at Atelier 17, and began showing work internationally at that time. Today, Hasegawa’s paintings and delicate prints are in the collections of the Bibliothèque nationale in Paris, The Museum of Modern Art in New York, the Victoria and Albert Museum in London, the Norrköpings Museum of Art, and the Museum Fuji in Tokyo. Hasegawa lives and works in Val-d'Oise, France—notably, the same place where the celebrated Impressionist master Claude Monet once lived. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
William Scott. (1913 Greenock - 1989 London). Scalpay. 1963. Farblithographie auf Arches Velin (mit WZ). 50 x 65,5 cm. Signiert, datiert und nummeriert. Mit dem Trockenstempel der Edition Wolfgang Ketterer. - An den Seiten mittig je mit kleinem Einstichloch als Spur der ehemaligen Montierung. Punktuell leichte Finger-, Farb- und Atelierspuren, auch verso. Insgesamt ausgesprochen gut. Prachtvoller, farbsatter und austarierter Druck der formatfüllenden Darstellung, mit Schöpfrand an der linken und rechten Seite. Ketterer Editionsverzeichnis 189. - Eines von 100 Exemplaren. - Aus dem Portfolio "Europäische Graphik I (Englische Künstler)". - Hg. Edition Wolfgang Ketterer in Zusammenarbeit mit Felix H. Mann, München 1963. - Der schottische Künstler William Scott RA ist mit seinem Werk der abstrakten Malerei der Nachkriegskunst zuzuordnen. Interessante Facetten erhält sein Werk auch aus der figurativen, klassischen Malerei, die Scott ab dem Alter von 14 Jahren intensiv studierte. Künstler wie Picasso, Modigliani und Cézanne prägten Scott in ästhetischer Hinsicht. Er beginnt 1928 ein Studium der Malerei am Belfast Collage of Art, welches er an der Royal Academy Schools in London fortsetzt. Bis dahin ist sein Frühwerk figurativer, verspielter. Mit einer Studienreise in die USA verändert sich Scotts Stil maßgeblich. Er lernt mit Mark Rothko, Franz Kline und Jackson Pollock die führenden Künstler des Abstrakten Expressionismus, Actions Painting und der New York School persönlich kennen. Sein Stil wird flächiger, die Formensprache wesentlich abstrahierter. Die Teilnahmen an der Documenta der Jahre 155, 1959 und 1964 mit seinen neu geschaffenen Werken eben Scott den internationalen Durchbruch, es folgen institutionelle Ausstellungen. 1984 wird zum Mitglied der Royal Academy berufen. 5 Jahre später, 1989 erliegt Scott einer langjährigen Alzheimer-Erkrankung. Colour lithograph on Arches wove paper. Signed, dated and numbered. With the dry stamp of Edition Wolfgang Ketterer. - Small pinhole in the centre of each side as a trace of the former mounting. Light finger, colour and studio traces in places, also On the verso. Extremely good overall. Splendid, colourful and well-balanced impression of the full-format depiction, with scoop margins on the left and right sides. - One of 100 copies. - From the portfolio "Europäische Graphik I (Englische Künstler)". - Pub. Edition Wolfgang Ketterer in collaboration with Felix H. Mann, Munich 1963. - The Scottish artist William Scott's work can be categorised as post-war abstract painting. His work also takes on interesting facets from figurative, classical painting, which Scott studied intensively from the age of 14. Artists such as Picasso, Modigliani and Cézanne influenced Scott aesthetically. He began studying painting at the Belfast Collage of Art in 1928, which he continued at the Royal Academy Schools in London. Until then, his early work was more figurative and playful. Scott's style changed significantly during a study trip to the USA. He became personally acquainted with Mark Rothko, Franz Kline and Jackson Pollock, the leading artists of Abstract Expressionism, Action Painting and the New York School. His style became more two-dimensional and his formal language much more abstract. Scott's participation in the Documenta in 1959 and 1964 with his newly created works led to his international breakthrough, followed by institutional exhibitions. In 1984 he was appointed a member of the Royal Academy. 5 years later, in 1989, Scott succumbed to Alzheimer's disease.
Aubrey Williams, Guyanese/British 1926-1990 - Untitled, 1967; ink on paper, signed and dated 'Aubrey Williams 67', 12.4 x 14.7 cm (ARR) Provenance: the Estate of Andrew Salkey (1928-1995) Note: this piece is typical of Williams's style of the 1960s, combining abstract impressionist tendencies with the forms and symbols of the pre-Colombian art of the indigenous inhabitants of the Americas. Williams was strongly influenced by American artists associated with Abstract Expressionist such as Jackson Pollock, Mark Rothko and Willem de Kooning, having seen major exhibitions of their works at the Tate Gallery in London in 1956 and 1959. After moving to the city in the 1950s, Williams became a major figure in the London art world, especially through his connection with the South African artist Denis Bowen, who founded the New Visions Gallery in London. Williams co-founded the Caribbean Artists Movement with other London-based Caribbean artists and intellectuals, such as Ronald Moody, Stuart Hall and Orlando Patterson. His artwork is currently in the collection of the Tate in London, the Arts Council, the Royal Albert Memorial Museum and the Bristol Museum and Gallery, among others. His work was central to the 2022 exhibition, 'Post-war Modern: New Art in Britain 1945-1965' at the Barbican Centre, London and other recent internationally acclaimed shows including 'Life Between Islands: Caribbean-British Art 50s – Now', 2021 at Tate Britain and 'The Gift of Art', 2018 at the Perez Art Museum, Miami.
Selina Trieff, American 1934-2015 - Woman, 1997; mixed media on card, signed and dated lower left 'Trieff '97', 30.6 x 30.7 cm (unframed) Note:Trieff was a student of Ad Reinhardt and Mark Rothko at Brooklyn College and later was taught by Hans Hofmann at his schools in New York and Provincetown.
Aubrey Williams, Guyanese/British 1926-1990 - Rastaman, 1970; gouache on canvas laid down on board, signed and dated lower right 'Aubrey Williams 70' and titled lower left 'Rastaman', 47.8 x 32 cm (ARR) Provenance: the Estate of Andrew Salkey (1928-1995) Note: similar works are now in the Tate archive. Williams was strongly influenced in the 1950s by American artists associated with Abstract Expressionist such as Jackson Pollock, Mark Rothko and Willem de Kooning, having seen major exhibitions of their works at the Tate Gallery in London in 1956 and 1959. After moving to the city in the 1950s, Williams became a major figure in the London art world, especially through his connection with the South African artist Denis Bowen, who founded the New Visions Gallery in London. Williams co-founded the Caribbean Artists Movement with other London-based Caribbean artists and intellectuals, such as Ronald Moody, Stuart Hall and Orlando Patterson. His artwork is currently in the collection of the Tate in London, the Arts Council, the Royal Albert Memorial Museum and the Bristol Museum and Gallery, among others. His work was central to the 2022 exhibition, 'Post-war Modern: New Art in Britain 1945-1965' at the Barbican Centre, London and other recent internationally acclaimed shows including 'Life Between Islands: Caribbean-British Art 50s – Now', 2021 at Tate Britain and 'The Gift of Art', 2018 at the Perez Art Museum, Miami.
OLIVIER DEBRE (1920-1999)Coulée diagonale jaune rose 1986 signé, titré et daté 86 au revers huile sur toile signed, titled and dated 86 on the reverse oil on canvas 100 x 100 cm. 39 3/8 x 39 3/8 in.Footnotes:Cette œuvre est enregistrée auprès des Archives Olivier Debré, Tours ; un certificat des Archives Olivier Debré sera remis à l'acquéreur. Provenance Collection particulière, FranceVente : Cornette de Saint Cyr, Paris, Art Contemporain, 27 juin 2011, lot 46Acquis lors de cette vente par le propriétaire actuelComme la terre soupire lentement avant d'entrer dans l'ombre, les toiles d'Olivier Debré offrent quelque chose qui donne à l'homme la mesure de son identité. De ses vues, empreintes du monde sensible (« l'espace est le lieu et la révélation à la fois », dit le peintre), l'artiste prélève une forme qui génère sa propre forme. L'évanouissement des contours, qu'il appelle de ses vœux, permet en une simple toile la passation imperceptible du mouvement à l'espace, de la couleur à la lumière, du mouvement au temps. Chacune de ses œuvres est un tout, dont l'éternel présent est fait de chair.Son art, épris d'élan et de solitude, d'une structure picassienne s'est, au début des années 1940, paré. Bouleversé par le tableau Guernica, qu'il découvre en juin 1937 au pavillon de l'Espagne lors de l'Exposition universelle à Paris, le jeune artiste décide de rencontrer le maître, qui l'invite régulièrement dans son atelier des Grands-Augustins pendant l'hiver 1942-1943. C'est à cette époque que Georges Aubry, dont la galerie est située non loin de là, décide de l'exposer. Ses premières toiles abstraites sont autant de parcelles où l'artiste, au couteau ou à la brosse, travaille l'espace et son vide. Le plan devient une étendue.Sa première exposition personnelle, à la galerie Bing, attire l'attention du grand critique Charles Estienne qui l'invite au salon d'Automne, en 1952 aux côtés de Zao Wou-Ki, Degottex, Poliakoff et Manessier. Matiéristes, aux couleurs sourdes, ses toiles vernaculaires invitent l'esprit à un raisonnement à rebours : l'intérieur ne peut s'atteindre que par l'extérieur, parce que ses peintures sont un dévoilement fait d'accords silencieux.La Perspective Gallery, à New York, puis la célèbre Knoedler Gallery, lui assurent une reconnaissance internationale. En 1959, après un voyage en Espagne, il expose à la Phillips Gallery de Washington où le peintre rencontre Mark Rothko et Franz Kline. Les années 1960, qui débutent avec une double-exposition Paris/New York à la galerie Knoedler, seront celles de la consécration. L'artiste, dans ses œuvres ferventes, recueille avec patience le surgissement ultime. Si le peintre s'incarne dans le geste, il est un sujet où se confondent les battements de son sang et la possession tumultueuse de l'onde tourangelle. L'incessante éclosion de la Loire, dans ses tableaux des années 1980, est devenue si iconique de son Œuvre qu'il nous est aujourd'hui difficile d'observer le fleuve royal sans y déceler l'onctuosité héraclitéenne de ces toiles où se devine la lassitude rougissante d'un jour qui s'éteint ou la virginale clarté indécise d'une aube naissante. Dans ses toiles fluides et légères, Olivier Debré convoque la complicité du ciel en créant sur le motif. Les gouttelettes de pluie et les taches ajoutent un éclat capiteux à sa matière ductile, hic et nunc. En recueillant l'épanchement ou le frémissement de la couleur qui s'évade (l'artiste penche la toile, une fois celle-ci achevée), Olivier Debré a fait de ces ourlets de matière sa signature. Ces sédiments sont autant de fragments.Faisant siens les mots de Bachelard : « la rêverie dynamique dans l'intimité matérielle », ce peintre combat le réalisme pour faire du réel sa véritable quête ; les embruns, sous son pinceau, se ressentent, comme une chaleur cuivrée émane de sa Coulée diagonale jaune rose créée en 1986. Révélant l'orgueil naturel de la beauté du monde, Olivier Debré extrait de notre vue ce qu'il y a de plus beau : le regard.As the earth exhales gently before slipping into the shadows, Olivier Debré's paintings offer the means to the measure of one's identity. From his views, captured within the perceptible world—space is at once a place and a revelation, says the painter—, the artist retrieves a shape that in turn generates another shape. When contours become precarious, a moment he so looks forward to, then within a single canvas is held the imperceptible passage from movement to space, from colour to light, from movement to time. Each of his works is an entity, the eternal present of which is made tangible.His art, suffused with élan and solitude, in the early 1940s, adopted a Picasso-like structure. Moved by the painting Guernica, which he discovered in June 1937 in the Spanish pavilion at the Universal Exhibition in Paris, the young artist decided to meet the master who, during the winter of 1942-1943, invited him regularly to his studio at the Grands-Augustins. It was at this time that Georges Aubry, whose gallery was located nearby, decided to exhibit his work. His first abstract canvases were composed of a number of colour fields where the artist, using a knife or a brush, worked on space and its emptiness. The plane became an expanse.His first solo exhibition, at the Bing Gallery, attracted the attention of the great critic Charles Estienne, who invited him to the Salon d'Automne in 1952, alongside Zao Wou-Ki, Degottex, Poliakoff and Manessier. His vernacular canvases, with thick impasto and muted colours, invite us to reverse our thought process: since his paintings are an unveiling of silent agreements, one must, from the exterior seek out the interior. The Perspective Gallery in New York, followed by the famous Knoedler Gallery, afforded him international recognition. In 1959, after a trip to Spain, he exhibited at the Phillips Gallery in Washington, where he met Mark Rothko and Franz Kline. The 60s, which began with a double exhibition in Paris and New York at the Knoedler Gallery, were the years of his consecration. The artist, in his fervent works, patiently awaits the ultimate emergence. Though the painter is embodied in each gesture, he is a subject in which are merged the pulse of his blood flow and the rapture caused by the tumultuous waters of Touraine. The shimmering appearances of the Loire, in his paintings of the 1980s, have become so iconic of his work that it is now difficult to look at that Royal River without detecting Heraclitus's Flux in the unctuousness of his canvases; the blushing weariness of a fading day or the virginal, hesitant clarity of a new dawn. In his delicate, fluid canvases, Olivier Debré summons the complicity of the sky by creating on the motif. Raindrops and traces add a heady sheen to his ductile matter, here and now. By collecting the overflow or effervescence of the runaway colour (the artist tilts the canvas once it is finished), Olivier Debré has made such seams of matter his signature. Sediments which are as many fragments.Endorsing Bachelard's words he says: 'a dynamic reverie within the intimacy of matter', his true quest: by refusing realism to achieve what is real; the sea spray under his brush can be felt, just as a copper-coloured warmth emanates from his Coulée diagonale jaune rose created in 1986. Revealing the world's natural pride of beauty, Olivier Debré extracts from our sight that which is most beautiful: the gaze.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
PIERO DORAZIO (1927-2005)Sans titre 1957 signé et daté 57gouache et mine de plomb sur papier signed and dated 57gouache and graphite on paper 63 x 48 cm. 24 13/16 x 18 7/8 in.Footnotes:Cette œuvre est enregistrée auprès de l'Archivio Piero Dorazio, Milan ; un certificat de l'Archivio Piero Dorazio sera remis à l'acquéreur. Provenance Howard Wise Gallery, New YorkBarbara Wise, New York (par descendance)Moeller Fine Art, New York (acquis auprès de celle-ci circa 1992)Collection particulière, New YorkExpositions New York, Achim Moeller Fine Art, Piero Dorazio: Watercolors and Drawings, 3 -22 décembre 2002 New York, Moeller Fine Art, Piero Dorazio, 16 septembre - 12 novembre 2010Artiste italien incontournable, Piero Dorazio est une figure emblématique de l'abstraction italienne. Cosignataire du « Manifesto Forma 1 » (le peintre appartient au groupe éponyme), en 1947, l'artiste emporte cette année-là une bourse d'étude pour les Beaux-Arts de Paris où il rencontre et côtoie des créateurs visionnaires tels que Jean Arp, Sonia Delaunay, Gino Severini, Le Corbusier, Georges Vantongerloo parmi tant d'autres. En 1953, Piero Dorazio voyage pour la première fois aux Etats-Unis, où il rencontre le critique Clement Greenberg, le 'deus ex machina' de l'expressionisme abstrait, ainsi que les artistes Franz Kline, Robert Motherwell et Mark Rothko. L'artiste italien expose ses œuvres dans les prestigieux écrins de New York que sont la Wittenborn One-Wall Gallery et la Rose Fried Gallery. Entre 1960 et 1969, il devient professeur à l'University of Pennsylvania, véritable temple de l'enseignement des Beaux-Arts à cette époque aux Etats-Unis. Les cinq œuvres que nous avons l'honneur de présenter proviennent d'une importante collection privée américaine, dont le goût éclairé de l'amateur est devenu une référence incontournable. Celles-ci ont été réalisées pendant la période la plus féconde et la plus recherchée de l'artiste, de la fin des années 1950 au début des années 1960. Les œuvres de 1959, 1960 et 1962 font partie de la série très convoitée des 'Reticoli', dans laquelle Piero Dorazio peint ses trames majestueuses (reticoli). Il s'agit de ses compositions abstraites emblématiques comprenant des bandes de couleurs obliques, plus au moins épaisses et plus ou moins denses, exécutées à l'aquarelle, au pastel ou bien à l'encre. Ces œuvres, acquises auprès des descendants d'Howard Wise, le mythique marchand et mécène américain, n'ont jamais été offertes aux enchères. La composition de 1960 a été créée l'année où Dorazio fut honoré par une salle qui lui est entièrement consacrée à la Biennale de Venise. Cet évènement marquera sa reconnaissance muséale et commerciale, qui ne sera jamais démentie jusqu'à sa disparition en 2005.Piero Dorazio is a leading Italian artist and an emblematic figure of Italian abstraction. A co-signatory of the 'Manifesto Forma 1' (the painter belonged to the eponymous group) in 1947, that year he won a scholarship to study at the Beaux-Arts in Paris, where he met and befriended visionary artists such as Jean Arp, Sonia Delaunay, Gino Severini, Le Corbusier and Georges Vantongerloo, to name but a few. In 1953, Piero Dorazio travelled to the United States for the first time, where he met the critic Clement Greenberg, the 'deus ex machina' of abstract expressionism, as well as the artists Franz Kline, Robert Motherwell and Mark Rothko. The Italian artist exhibited his work in the prestigious New York venues of the Wittenborn One-Wall Gallery and the Rose Fried Gallery. Between 1960 and 1969, he became a professor at the University of Pennsylvania, a veritable temple for the teaching of Fine Arts at the time in the United States. The five works we have the honour of presenting come from a prestigious American collector, whose enlightened taste has become a reference in the world of art. They were produced during the artist's most prolific and sought-after period, from the late 1950s to the early 1960s. The works from 1959, 1960 and 1962 are part of the highly coveted 'Reticoli' series, in which Piero Dorazio paints his majestic wefts (reticoli). These are his emblematic abstract compositions featuring oblique bands of colour, varying in thickness and density, executed in watercolour, pastel or ink. These works, acquired from the descendants of Howard Wise, the legendary American art dealer and patron, have never before been offered at auction. The 1960 composition was created in the same year that Dorazio was honoured with a room entirely dedicated to him at the Venice Biennale. This event marked his recognition in museums and on the market, which would continue until his death in 2005.This lot is subject to the following lot symbols: * AR* VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Min WARDMAN (1951-2024) Golden Bird Acrylic and gold-leaf on canvas, studio stamp verso, 101.5cm x 76cm Min Wardman (1951-2024) Artist - Feminist - GardenerMin was born in Yorkshire in 1951, her mother an artist, her father a civil engineer. After a comprehensive education she was awarded an exhibition in Birmingham, followed by postgraduate studies in both History of Art and Painting in London.After graduating, Min found the London scene not to her taste, finding it too difficult to be taken seriously as a female painter. At the time, Devon was developing its Community Colleges and Min worked developing Textile and Printmaking 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. Landscape is a near constant within her work: there are stone monuments, myths and legends, birds, plants and other motifs which pass in and out of her paintings.Classical Art was a major influence, also the work of Rothko, Turner and Hokasai. Other favourite artists included Miro for block colour, Manrique for art and community planning and Picasso for returning to images and perseverance. 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) Dean Quarry Blast Oil on canvas, studio stamp verso, 20cm x 20cm, 27cm x 27cm framed. Min Wardman (1951-2024) Artist - Feminist - GardenerMin was born in Yorkshire in 1951, her mother an artist, her father a civil engineer. After a comprehensive education she was awarded an exhibition in Birmingham, followed by postgraduate studies in both History of Art and Painting in London.After graduating, Min found the London scene not to her taste, finding it too difficult to be taken seriously as a female painter. At the time, Devon was developing its Community Colleges and Min worked developing Textile and Printmaking 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. Landscape is a near constant within her work: there are stone monuments, myths and legends, birds, plants and other motifs which pass in and out of her paintings.Classical Art was a major influence, also the work of Rothko, Turner and Hokasai. Other favourite artists included Miro for block colour, Manrique for art and community planning and Picasso for returning to images and perseverance. 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 Mixed media on canvas, studio stamp verso, 50cm x 50cm Min Wardman (1951-2024) Artist - Feminist - GardenerMin was born in Yorkshire in 1951, her mother an artist, her father a civil engineer. After a comprehensive education she was awarded an exhibition in Birmingham, followed by postgraduate studies in both History of Art and Painting in London.After graduating, Min found the London scene not to her taste, finding it too difficult to be taken seriously as a female painter. At the time, Devon was developing its Community Colleges and Min worked developing Textile and Printmaking 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. Landscape is a near constant within her work: there are stone monuments, myths and legends, birds, plants and other motifs which pass in and out of her paintings.Classical Art was a major influence, also the work of Rothko, Turner and Hokasai. Other favourite artists included Miro for block colour, Manrique for art and community planning and Picasso for returning to images and perseverance. 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 Collage Studio stamp verso, 59cm x 75cm, 67.5cm x 98cm framed. Min Wardman (1951-2024) Artist - Feminist - GardenerMin was born in Yorkshire in 1951, her mother an artist, her father a civil engineer. After a comprehensive education she was awarded an exhibition in Birmingham, followed by postgraduate studies in both History of Art and Painting in London.After graduating, Min found the London scene not to her taste, finding it too difficult to be taken seriously as a female painter. At the time, Devon was developing its Community Colleges and Min worked developing Textile and Printmaking 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. Landscape is a near constant within her work: there are stone monuments, myths and legends, birds, plants and other motifs which pass in and out of her paintings.Classical Art was a major influence, also the work of Rothko, Turner and Hokasai. Other favourite artists included Miro for block colour, Manrique for art and community planning and Picasso for returning to images and perseverance. 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...'
FÖRG, GÜNTHER1952 Füssen - 2013 FreiburgTitel: Ohne Titel. Datierung: 1989. Technik: Acryl auf Canson-Papier. Maße: 260 x 150cm. Bezeichnung: Signiert und datiert unten links: Förg 10/89. Bezeichnet unten rechts: FR 3/II. Rahmen/Sockel: Rahmen. Im Rahmen beschrieben. Das Werk ist unter der Nummer WVF.89.C.0386 im Archiv des Estate Günther Förg registriert. Wir danken Herrn Michael Neff vom Estate Günther Förg für die freundliche Bestätigung der Authentizität dieser Arbeit.Provenienz:- Galerie Rüdiger Schöttle, München- Privatsammlung NorddeutschlandLiteratur: - Galerie Gisela Capitain (Hrsg.): Günther Förg - Große Zeichnungen, Stuttgart 1990, Abb. S. 6- Starke räumliche Präsenz- Leuchtende Arbeit einer intensiven und wichtigen Schaffensphase die durch die besondere Geschlossenheit der Komposition überzeugt- Ausdruckstarke Farb- und Raummodulation in unverwechselbarer Bildsprache des KünstlersJenseits revolutionärer PrinzipienFörgs einfache Kompositionsformel kombiniert in Lot 40 zwei kräftige, warme Farbtöne miteinander. Auch hier ist seine Lust am Handwerk der Malerei gut zu erkennen, die die Oberfläche in Vibration versetzt. Durch die Verwendung von nur zwei Farbtönen erinnert der Künstler an den gestalterisch durchdachten Purismus von Piet Mondrian und der De Stijl-Bewegung. Im Gegensatz zu seinen geschätzten Vorgängern Barnett Newman und Mark Rothko, welche in ihren Werken eine in ihren Augen verlorene Einheit und Ordnung wiederherstellen zu versuchten, betont Förg: "Für mich ist die abstrakte Kunst heute das, was man sieht, und nicht mehr". (Aus einem Gespräch mit Thomas Groetz, in: Günther Förg. Bilder/Paintings 1973-1990, Galerie Max Hetzler, Berlin 2004). Denn Günther Förgs Bildsprache hat sich aus der Abstraktion entwickelt. Im Gegensatz zum Abstraktionsbegriff der Moderne oder den "Abstract Expressionists" kümmert sich Günther Förg wenig um "klassische" Kompositionsprinzipien. Farbe und Material ordnen die Bildfläche nach ihren eigenen Gesetzmäßigkeiten. Auf ein narratives Element oder eine metaphysische Aufladung des Dargestellten wird verzichtet. Der Künstler schöpft aus seinem reichen Reservoir an Inspirationen, adaptiert und transformiert Gesehenes und setzt in seinem Schaffen kontinuierlich neue Impulse in Bezug auf Material, Farbe und Raum.Lebendige KontrasteEine vorherrschende spielerische Dynamik halten die Gelb- und Orangetöne im Gleichgewicht und trennen das Werk in zwei unterschiedliche Bereiche - den flächigen Hintergrund und die rechteckigen gestalterischen Elemente. Das Werk verdeutlicht die Fähigkeit Günther Förgs, die sinnliche Kraft der Farbe mühelos und überzeugend zur Geltung zu bringen. Die abstrakten Formen, die fast spontan auf den Bildträger aufgebracht zu sein scheinen, laden den Betrachter unweigerlich zu freien Assoziationen ein. Die geometrische Struktur, die auf diese Weise entsteht, erinnert an Architekturbauten mit Fenstern oder Bögen, aber auch an die Eigenschaften von Natur und Landschaft. Die fließenden Linien von Förgs Pinselstrichen zeigen die elegante Anwendung von Gouache-Farben. "Ohne Titel" strahlt durch die kontrastreiche und chromatisch intensive Unterbrechung der Farben eine mitreißende Energie in den Raum hinaus aus. Hier zeigt sich Förgs Meisterschaft, den Betrachter mit minimalistischen malerischen Mitteln tief zu berühren. Voraussichtliche Versandkosten für dieses Los: Absprache nach der Auktion.Erläuterungen zum Katalog Günther Förg Deutschland Abstraktion Nachkriegskunst Unikate 1980er Rahmen. Im Rahmen beschrieben Farbe Papierarbeit Gouache Formen
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