Mahmoud Said (Egypt, 1897-1964)La Seine á Paris, 1922 oil on board, framedsigned 'M.Said' and dated '1922'(lower left), executed in 192222 x 35cm (8 11/16 x 13 3/4in).Footnotes:La Seine á ParisAn exquisite early painting by Mahmoud Said and an important example of his brief experimentation with impressionism and en plein air painting Provenance:Private collection, Cairo, Hassan Bek Kamel, Alexandria by 1936; Fatma Ghazali (one of the artist's nieces), CairoLiterature:La Semaine Égyptienne, 1936a, no.57 (not illustrated)Note:The present work is included in the Artists Catalogue Raisonne; Valerie Didier Hess and Hussam Rashwan, Mahmoud Said: Catalogue Raisonne Volume 1, Paintings, Skira Editore, 2016, illustrated on page 265'Besides the giants of the past that I passionately love, the only names I could perhaps mention are Corot, Cezanne and Renoir' – Mahmoud Said 'Said took the initiative of travelling to France for three consecutive summers between 1919 and 1921 in order to further study art in private Parisian schools. He attended classes in the free department of the Academie de La Grande Chaumeire in Paris, possibly following courses given by the classical French sculptor and painter Emile-Antoine Bourdelle (1861-1921). From 8-29 July 1921, Said pursued his artistic training at the renowned Academie Julian with the academic French painter, Paul Albert Laurens (1870-1934)These short art courses spent at both academies were crucial for Said's training as an artist, as he found himself at the heart of the bubbling Parisian art scene. These art courses led him to make frequent visits to the Louvre in Paris where he learned the canons of Western art. [These] early works illustrate how Said briefly experiences Barbizon and Impressionist en plein air painting, with thick broad brushstrokes and small flecks of light.'For further information on this lot please visit Bonhams.com
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George Keyt (Sri Lankan, 1901-1993)Untitled (Girl with Ball) signed and dated 'G Keyt 67' upper middleoil on canvas, framed83.8 x 51.1cm (33 x 20 1/8in).Footnotes:ProvenanceAcquired from Sotheby's, Indian and Southeast Asian Art, New York, 1st April 2005, lot 142.An Anglo-Dutch of Burgher origin, Keyt grew up in Sri Lanka and attended Trinity College, Kandy. He had a consuming passion for literature and poetry, specifically Shakespeare and also devoted time to drawing and art. For a short period Keyt worked for a firm of photographers, manually enhancing the negatives with a brush. It was here that his friend, photographer Lionel Wendt, and later the leader of the '43 Group, of which Keyt was a founding member, noticed Keyt's skill and encouraged him to pursue art. Aged 26 in 1927, Keyt devoted himself to art and undertook a course on painting with the painter George de Niese. Keyt was also influenced by C.F. Winzer, the Ceylon Government's inspector of art in schools who rejected the naturalistic styles of painting favoured by art teaching that emulated Western Victorian and Edwardian traditions.By the early 1930s, the Cubism that would forever alter the character of his paintings began to emerge in his work. He broke away from academic naturalism and embraced modernism with bold colourful fervour. Upon seeing the 1932 and 1933 issues of French art magazine Cahiers d'Art featuring Cezanne, Picasso and Braque his passion for modernism was cemented. In the two works on offer in this auction we can see how he married modern European practises with ancient South Asian fresco techniques found at Ajanta and Sirgirya and subject matter that was largely rooted in local tradition. His works depicted women, children, villagers, dancers, tradesmen and gods often drawn from Hindu and Buddhist mythology.Pablo Neruda perhaps best summed up Keyt in his 1930 review of the exhibition at Zwemmer Gallery in London, in which Keyt works were featured alongside Picasso and Braque,'Keyt, I think, is the living nucleus of a great painter. In all his work there is the moderation of maturity, the beautiful stability of achievement – qualities most precious in so young an artist. Magically though he places his colours, and carefully though he distributes his plastic volumes, Keyt's pictures nevertheless produce a dramatic effect, particularly in his paintings of Sinhalese people. These figures take on a strange expressive grandeur, and radiate an aura of intensely profound feeling.' (M. Russell, George Keyt, Marg Publications, Bombay, 1950)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
A BOX OF ASSORTED FOUNTAIN PENS, to include a boxed 'Fisher Space pen', a navy feather fountain pen, a boxed 'Alfa Romeo' advertising pen set, a miniature ball point pen fitted onto a book mark in a fitted box, a boxed 'Waterman' fountain pen, a 'Yves Saint Laurent' fountain pen, a boxed 'Stuart Houghton' calligraphy dip pen and a boxed 'The Cezanne pen' with ink well
Cezanne by Marcel Brion of the Acadamie Francaise 1979 edition unknown Hardback Book with 95 pages published by Thames and Hudson Ltd some ageing good condition. Sold on behalf of Michael Sobell Cancer Charity. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99
ART INTEREST. Thirty-one works. 'Pottery in Britain Today,' by Michael Casson, original cloth, clipped dj, illustrated, Alec Tiranti, London, 1967; 'Terry Frost' exhibition catalogue for The Belgrave Gallery, 3rd of November 1989; ROBERTSON, RUSSELL and SNOWDEN. 'Private View,' original cloth, repairs to unclipped dj, profusely illustrated with b+w photographs, Thomas Nelson and Sons, London, 1965; JANET AXTEN. 'Gasworks to Gallery: The Story of Tate St Ives,' assigned and inscribed by the author, pictorial card wraps, illustrations throughout, 1995; RICHARD KENDALL (ed). 'Cezanne by himself,' original cloth, unclipped dj, BCA, London, 1994; with 27 other books on art including large format 'Phaidons'. (31)
Interpreting Cezanne by Paul Smith 1996 First Edition Softback Book with 80 pages published by Tate Publishing some ageing good condition. Sold on behalf of Michael Sobell Cancer Charity. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99
Cezanne by Himself Edited by Richard Kendall 1988 First Edition Hardback Book with 320 pages published by Macdonald and Co (Publishers) Ltd some ageing good condition. Sold on behalf of Michael Sobell Cancer Charity. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99
§ Hugo Grenville (1958-) September Afternoon, Bellegarde-des-Razessigned 'Grenville' (lower left)oil on board39 x 49cmExhibited:London, David Messum Fine Art, Summer Exhibition 2001, cat. no.28Widely regarded as one of Britain’s leading colourists, Hugo Grenville has, over the past thirty years, established an international reputation, having exhibited his works alongside Cezanne, Degas and Renoir, and having held in excess of 20 solo exhibitions across New York, London, Palm Beach and Hong Kong.Although Grenville first exhibited at the Chelsea Arts Society when he was just 15 years old, it would be another 14 years before he would take up painting as his career. After leaving school and briefly travelling around India, Grenville joined the Coldstream Guards, where he served as an officer in Northern Ireland, Zimbabwe and West Africa, before returning to the UK to perform his duties as an aide-de-camp, whilst simultaneously taking part-time art lessons at Heatherley’s and Chelsea School of Art. Following his military service, Grenville spent several years working as an art dealer, before finally committing himself to his own painting practice when he turned 30.Describing his works as ‘an unashamed and joyous celebration of life’, Grenville’s vivacious and lyrical works aim to stand in stark contrast with a society where, according to the artist, ‘satire and cynicism predominate’.Overall good condition - there appears to be a fault on the board which goes from top to bottom towards the right of the painting.
A box of hardback books, mainly being French Impressionism and related to include Bonafaux, Pascal: Les Impressionnistes Portraits et Confidences, Borel, France: Le Modele ou L'artiste Seduit, Four, Michel: Femmes, Kendall, Richard (ed.): Degas by Himself Drawings, Prints, Paintings, Writings and Venturi, Lionello: Cezanne etc.
Cezanne The early Years 1859 1872 1988 First Edition Softback Book Catalogue with 230 pages published by Royal Academy of Arts London some ageing good condition. All lots sold on behalf of the Michael Sobell Cancer Charity. UK shipping from £4.99, 20kg box £14.99, Europe from £6.99, ROW at cost from £9.99.
BOOKS, one box containing twenty five art, antiques and rare titles to include works on Goya, Cezanne, Watercolours and Drawings from the Collection of Queen Elizabeth the Queen Mother, the Autobiography of Sir Alfred Munnings 'the second burst', Van Loon's Lives (3rd reprint), Mr Jorrocks' Lectors published in 1910 by Hodder and Stoughton and a 1st edition copy of THE LITTLE WHITE BIRD by J.M. Barrie published by Hodder and Stoughton 1902 (poor condition)
A QUANTITY OF PICTURES AND PRINTS ETC, to include a pencil sketch of a crying boy with attribution to J.A Wilson 1843, two watercolours depicting Cannock Chase by R John Ralphs, limited and open edition prints of Stafford, limited edition etchings of Venice, a poster print for a Cezanne exhibition at the Tate in 1996 and a quantity of other prints
Books - Ligabue introduced by Marzio Dali'Acqua, a presentation book of his works in a black sleeve, written in Italian together with Cezanne, a folio of prints depicting his works, together with religious books, and others to include motor engine and children's books, ledgers and a schoolboy autograph album Location:
Abraham Mintchine (Ukrainian/Russian, 1898-1931)Interior of a studio (Siesta)signed in Latin (lower right) oil on canvas 38.5 x 55cm (15 3/16 x 21 5/8in).Footnotes:ProvenancePurchased from Crane Kalman Gallery, London, by B. I. Harris Esq. on May 1960 (according to the label on verso)Acquired from the above by Jacques Spreiregen (1894 - 1982) Thence by descentExhibitedWorthing Art Gallery, Sussex, Impressionism to Surrealism, no. 2, 1970 (according to the label on verso)Jacques (Jakob Henryk) Spreiregen was born in 1894 in Warsaw into a Jewish family. To escape the Tsarist regime in Poland, in 1910, the family emigrated to France, where he changed his name to Jacques Henry Sergene. During the First World War, a young Spreiregen moved to England and began working as a headwear manufacturer and importer of basque berets. Having joined the British Army, he was sent back to France to serve in the Medical Corps before returning to England after the war. In 1938, the Kangol brand was born and owing to the exceptional popularity of its berets, soon became the official supplier of the British Army during the Second World War. As a philanthropist and collector, Spreiregen is known to have built an extraordinary collection of 20th century art led by European avant-garde masters such as Paul Cezanne, Claude Monet, Pierre Bonnard, Pablo Picasso, Mark Chagall, Mikhail Larionov and Natalia Gontcharova. Maintaining close ties with France, he was avid in his support of the community of Jewish artists in Paris, which included Chaïm Soutine, Pinchus Krémègne, Abraham Mintchine and Maurice Blond, and acquired the majority of his collection directly from the artists' studios. This remarkable collection was exhibited several times during Spreiregen's lifetime: in January 1960, at the Rouen Museum of Fine Arts, at the Katia Granoff Gallery in Paris (May – June 1963) and at the Brook Street Gallery in London in December 1963.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
Christopher Wood (British, 1901-1930)Drying Sails, Mousehole, Cornwall oil on board40.6 x 50.8 cm. (16 x 20 in.)Painted in 1930Footnotes:ProvenanceMr and Mrs L.K. Elmhirst, thence by descentPrivate Collection, U.K.ExhibitedLondon, The New Burlington Galleries, Christopher Wood, Exhibition of Complete Works, 3 March-2 April 1938, cat.no.37London, The Arts Council of Great Britain, English Contemporaries, 1949, cat.no.2Copenhagen, Kunstforeninger, British Arts 1900-1955, 10-29 April 1956, cat.no.48; this exhibition travelled to Oslo, Kunstnernes Hus, 12 May-10 JuneLiteratureEric Newton, Christopher Wood, The Redfern Gallery, London, 1938, cat.no.437In 1928 Christopher Wood made the decision to join Ben and Winifred Nicholson in Cornwall, rather than return to Paris. He had first travelled to the French capital in 1921 at the age of 20 and his visits had provided invaluable opportunities to observe the finest examples of Post-Impressionism, Cubism and Fauvism. As a result he was familiar with the work of Van Gogh, Gauguin, Cezanne, Matisse and of course Picasso and Jean Cocteau, both of whom he had known and taken lessons with. This time on the continent taught Wood that simplicity and refinement were the essential characteristics of modern art, and it brought a deep understanding of and appreciation for the Primitive movement, which he strove to emulate in his work over the following years in a very English manner. It was during this initial trip to Cornwall, far from the avant-garde artists of Europe, that Christopher Wood and Ben Nicholson were to find their ultimate expression of primitive painting in the form of Alfred Wallis, an 80-year-old retired fisherman and self-taught artist who lived at Number 3 Back Road West in St Ives. Within his home were numerous pictures of ships, lighthouses and harbours painted on a variety of irregular cardboard, paper and other salvaged material with distinctive naivety. This now legendary 'discovery' was to have a profound effect and invigorated both artists who sought to absorb the lessons of the elderly mariner by leaving their lodgings in Feock to move closer to St Ives, with Wood settling at Meadow Cottage overlooking Porthmeor Beach. It was from this location and following almost daily trips to Wallis that Wood wrote to his mother, 'I feel my things are becoming really vital and the studentship has passed, my work is forming something quite personal and sure, unlike anybody else's, and I don't think anyone can paint the pictures I am doing.' (Christopher Wood quoted in Katy Norris, Christopher Wood, Lund Humphries in association with Pallant House Gallery, London, 2016, p.109). Having immersed himself in a seafaring culture which spoke to him, Wood crossed the Channel and spent several months in the fishing village of Treboul in Brittany during 1929. As well as the everyday lives of its inhabitants, many of the images he created are deeply personal and reflect on local customs of the maritime community, observing instances of religious contemplation and festive celebration with both intensity and dignity. The epiphany that had occurred upon meeting Alfred Wallis and the lessons learnt from the nautical communities of northern France were developed in the artist's final visit to Cornwall prior to his untimely death, where he based himself in the tiny village of Mousehole. During March 1930 he worked solidly here for two weeks and described himself to Ben Nicholson as being 'absolutely deliriously happy painting' amongst the narrow grey streets and fishing boats (Christopher Wood quoted in Richard Ingleby, Christopher Wood: An English Painter, Allison & Busby, London, 1995, p.231). Drying Sails, Mousehole, Cornwall belongs to the group of works painted during this busy time and shows the progression of the artist's naïve, figurative style which is entirely unique. It exudes a sense of calm as groups of figures amble along the quay past the Ship Inn, which remains to this day. There can be little doubt this is a fishing community with the large sail strewn across the wall, drying from a recent fishing trip, possibly treacherous given the time of year and in stark contrast to the current atmosphere. The carefully observed structure of the boats is a technique that had been honed on a previous visit to Dieppe, along with the scratching and incising of the painted surface. The flashes of colour both here and in other selected passages of the composition act in contrast to the black, white, grey and brown palette that pervades. This simple clarity of colour and form came from the artist's immediate instinct for his subjects and also the teachings of Wallis who conveyed the essential reduction of these components. Drying Sails, Mousehole, Cornwall is closely related to Ship Inn, Mousehole, completed at the same time and in the collection of Manchester City Galleries.For further information on this lot please visit Bonhams.com
ARTIST: Joseph Giunta (Massachusetts, Canadian, 1911 - 2001)NAME: MadonnaYEAR: 1958MEDIUM: oil on boardCONDITION: Very good. No visible inpaint under UV light.SIGHT SIZE: 16 x 12 inches / 40 x 30 cmFRAME SIZE: 24 x 20 inches / 60 x 50 cmSIGNATURE: lower leftNOTE: has artist's label on versoNAME VARIANTS: Joseph GuintaSKU#: 118921US Shipping $60 + insurance.BIOGRAPHY:Joseph Giunta had an artistic career that spaned over 70 years. He is known for both of his styles, realism and gestural abstraction. From the 1930's to 1960's, he created traditional style portraits, still lifes and landscapes, and from 1960 to 2001, he did gestural abstraction including organic collages, and geometric constructions.With his family's origins rooted in Sicily and born in Montreal, Canada, Joseph Giunta began his painting studies in 1925 at the age of 14 under the direction of Adrien Hebert and Johnny Johnston. From 1927 to 1930, he studied at the Monument National and at the Montreal School of Fine Arts and pursued his training under the supervision of Maurice Felix, Charles Maillard and Joseph St-Charles. He was influenced by the Impressionists and the Fauves, especially Paul Cezanne and Henri Matisse.In 1930 he continued his painting studies under the critical eye of professor C. Dyonnet, and in 1931 at the young age of 20, he was accepted for the first time at the Montreal Museum of Fine Arts' Annual Spring Exhibition.He also studied and painted in Boston, Massachusetts from 1935 to 1937. Giunta's first exhibition was in 1936 at the Fine Art Department of Eaton's store in Montreal, where he exhibited along with Marc-Aurele Fortin. After 1958 Giunta started turning toward abstract art. He went on an observation journey that took him to Italy and France, and became influenced by the work of Kandinsky, Klee, Tapies, De Kooning and Miro. For Giunta, a period followed of gestural-abstraction painting and organic collages.He participated in a host of solo and group exhibitions, including at the Quebec Pavilion at the Osaka Japan World's Fair in 1970. In 1975 after the tragic death of his only son, Giunta did not exhibit for over nine years. He turned inward and emerged with geometric constructions.In 2001, the year of his death, a major exhibition was held at the Maison de la culture Frontenac in Montreal, along with the release of a posthumous documentary tribute to the artist by filmmaker Pepita Ferrari. It was titled "Joseph Giunta: A Silent Triumph", and has won 5 awards in 3 separate countries: Canada, the United States and France, and has helped to propel Giunta to international status.
ALFRED STIEGLITZ (Editor), Camera Work, two original volumes of the magazine, numbers 22 (1908) and 34/5 (1911). No. 22 has the three half-tones missing but contains all the text and advertisements, that is, the un-numbered publication details page, article on colour photography (pp 13-24) by Steichen, article on Stieglitz's expulsion from the Camera Club of New York (pp. 25-32), New Tendancies in Art by J Nilsen Laurvik (pp.33-34), The Rodin Drawings at the Photo-Secession Galleries pp. 35-41, Rumpus in a Hen-House, Charles H Caffin pp. 42-43, The Photo-Secession Galleries and The Camera Workers (organization set up after Stieglitz expulsion from The Camera Club), 15 pages of advetisements, covers with edge losses and tears (see online images). No. 34/5, the photogravures are missing but retaining seven collotypes of Rodin watercolours, contents include all the text and advertisements, that is, the un-numbered publication details page, Rodin and the Eternality of the Pagan Soul, Benjamin de Casseres, pp. 13-14, Some Recollections of Rodin, Agnes Ernst Meyer, pp. 15-19,Rodin's Balzac, by S. H. pp.19-21, from 'The Sanity of Art' George Bernard Shaw, p.22, The New Art in Paris, Marius de Zayas, pp. 29-34, four plates from Rodin exhibition, each separated by blank page, A Note on Paul Cezanne, Charles H Caffin, pp.47-51, three furthe Rodin plates, Arthur Symonds on Rodin's Drawings, pp.63-64, Pablo Picasso, Marius de Zayas, pp.65-67, 14 pages of advertisements, pages loose in both copies.
Small selection of art books to include: Robert Mapplethorpe 'Pistils' in original box, 'Vivienne Westwood' by Claire Wilcox, 'Van Goch, Gauguin, Cezanne and beyond Post-Impressionist Masterpieces from the Musee D'orsay'. 'Vision: 50 years of creativity', 'Celebration of Art Architecture and Design', Yoko Ono 'Half a Wind Show' (5) (B.P. 21% + VAT)
Manoucher Yektai (Iran, born 1922)Newspaper and Brushes oil on canvas, framedsigned 'Yektai' and dated '56' (lower middle), executed in 1956128 x 136cm (50 3/8 x 53 9/16in).Footnotes:Provenance:Property from a private collection, Los AngelesAcquired from Poindexter Gallery, New York City, 1957Exhibited:Poindexter Gallery, Manoucher Yektai, New York City, 1957A MONUMENTAL PAINTING OF A STILL LIFE BY MANOUCHER YEKTAI 'Yektai wanted to render us conscious of our existence from second to second, of the joy of breathing, of the rapid changes of things' – John Ashberry'Around the mid 1950's, Yektai entered his present phase, a period of immense bravura, lyricism, power, directness and of a determined abstract commitment' – Robert Pincus-Witten'His style, overrun by thick, torrential impastos as elegant as they are volatile, barely respects the shapes and edges of things. 'nature' here suggests a movement that attracts the gestural propensities of the artist. ...there are so many exciting passages - particularly in the several tomato plants in which form and movement are as engaged as in his figures. Yektai continues to grow.' - Clement GreenbergBonhams have the rare honour of presenting one of the most formidable examples of Manoucher Yektai's inimitable and striking expressionist still life compositions rendered in a rare and magnificent cobalt blue palette Monumental, powerful and enigmatic, 'Still Life' exhibits all the lyrical intensity of Yektai's dramatic technique; an artist at the creative high point of his career, Yektai's 1950's work is exemplified by exhilarating lyric flurries of paint, thick rapier like strokes, and a virtuoso handling of impasto.Unlike his later, more sombre, paired down still life compositions, like other works from the 1950's, the present work is imbued with a palpable sense of density and dynamism. Here we may notice the influence of action painting on Yektai's style with its powerful, energetic technique evident in the torrent of lush decisive strokes. This painterly looseness, however, is channelled within a well-contained, tight composition – the unlikely harmony of freedom and discipline writ large in paint.Born in Tehran, Yektai is considered one of the unsung founders of the New York School of Abstract Expressionism. After an early encounter with Iranian painter Mehdi Vishkaei, Yektai decided almost overnight to become an artist, failing to show up for his school exams one morning and proclaiming that he was destined to be a painter.Renowned for shunning easel painting, Yektai's habit of working his canvases from the floor stem from a painting session in the outskirts of Tehran in the 1930's, where he found himself unable to work with his canvas propped against a tree due to the wind, ending up finishing the composition on the ground, a method that would stay with him for his whole career, and one to which he attributes much of his dynamism and artistic freedom.Between 1945 and 1947, he studied with Amédée Ozenfant in Paris, France, and later in New York City. In 1951 and 1952 Leo Castelli brought some friends, including early Abstract-Expressionist painters, to see Yektai's New York exhibitions shows. Castelli introduced him to the 9th Street Club in 1951 and he soon became a friend of Rothko,Tobey, Guston, and others. In the mid-1950S he was included in classic group exhibitions of early Abstract-Expressionism at the Stable Gallery and elsewhere, with older generation artists such as DeKooning, Pollock, Newman, and Kline. From 1957 till 1965 he showed at Poindexter. With this background it would be easy to regard Yektai as a key member of the New York School.In composition and technique, 'Still Life, Framed' is a unique blend of the artists dramatic gestural style and the influence of the still life genre, and in particular the palette and textural quality of post-impressionists like Cezanne and Toulouse Lautrec. An artist that was a key member of one of the defining movements of twentieth century art, Yektai nevertheless demonstrated an artistic freedom and originality which set him apart from his peersThis 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
ANTON FAISTAUER (St. Martin bei Lofer 1887 - 1930 Wien) Plakatentwurf zur österr. Ausst. in der Liljevachs Kunsthalle 1917 Pastell/Papier, 27,5 x 21 cmProvenienz: Sammlung Gusel, Privatbesitz WienSCHÄTZPREIS: °€ 1.500 - 3.000 Österreichischer Maler des 20. Jahrhunderts. Gilt als bedeutendster Salzburger Maler der Moderne. 1904 bis 1906 an der privaten Malschule von R. Scheffers, 1906 bis 1909 an der Akademie der bildenden Künste Wien bei Alois Delug und Christian Griepenkerl. 1909 gemeinsam mit Egon Schiele, Anton Kolig, Robin Christian Andersen und Franz Wiegele Gründung der Neukunstgruppe. Ausstellungen im Kunstsalon Pisko, in Budapest, München und in Wien im Hagenbund. 1913 Heirat mit der Schwester von Robin Christian Andersen, im gleichen Jahr Ausstellung in der Galerie Miehtke. 1919 in Salzburg mit Felix A. Harta Gründung der Künstlergruppe Wassermann. Gestaltung der Fresken für das Salzburger Festspielhaus. Intensive Auseinandersetzung mit den Werken von Paul Cezanne, Entwicklung eines gemäßigten Expressionismus. Schuf v.a. Landschaften, Stillleben und Porträts. Gestaltete das Plakat für die Ausstellung österreichischer Kunst 1917 in der Liljevalchs Kunsthalle in Stockholm, Schweden. Stellte dort neben Gustav Klimt, Egon Schiele, Oskar Kokoschka und Anton Hanak als Hauptvertreter der österreichischen Moeder aus. Der Entwurf zeigt eine vereinfachte Version eines Porträts seiner Frau Ida. Ende August 1917 brachte eine mehrtätige Zugreise sechs Reisende aus Wien in die Hauptstadt des neutralen Schweden, Tummelplatz von Agenten, Reformern und Revolutionären und wenige Wochen zuvor Schauplatz der wirkungslos gebliebenen Friedenskonferenz der Zweiten Internationalen. Die Reisegruppe bestand aus maßgeblichen Protagonisten des österreichischen Kunstbetriebs: Albin Egger-Lienz, Anton Faistauer, Gustav Klimt, Oskar Kokoschka, Egon Schiele und Anton Hanak. Unter Anleitung des Architekten Josef Hoffmann arbeiteten die Künstler vom 3. bis 6. September am Aufbau der aus ca. 650 Exponaten bestehenden „Österrikisk Konstutställning“, deren Eröffnung für den 8. September in der neuen Liljevalchs Konsthall für zeitgenössische Kunst anberaumt und Teil einer „Österreichischen Woche“, mit Lesungen, Konzerten und Modeschauen, war. Diese weitgehend vergessene Charmeoffensive der Regierung des jungen Kaisers Karl sollte zeigen, dass Österreich trotz des Krieges nichts von seiner kreativen Kraft verloren hatte. Organisiert wurde die Propagandaschau von Karl Bittner, Handelsattaché der österreichisch-ungarischen Gesandtschaft, ursprünglich nicht im Auftrag des k. u. k. Ministeriums des Äußern, sondern des k. u. k. Kriegsministeriums, bzw. des Kriegspressequartiers. Organisation und Auswahl der Kunstwerke wurden Josef Hoffmann übertragen. Nach anfänglichem Kompetenzgerangel zwischen zivilen und militärischen Behörden wurde auf Vermittlung Bittners das Projekt schließlich komplett in zivile Hände übergeben. Um sein Gesicht zu wahren, schob das Kriegsministerium als angeblichen Grund die vielbeschworene österreichisch-ungarische Parität vor. Mit der Gestaltung des Ausstellungsplakats wurde Anton Faistauer betraut. Die endgültige Version, eine Lithografie, zeigt eine junge Frau im hochgeschlossenen Kleid, sitzend, im Halbprofil, die Hände locker auf ihre Oberschenkel gelegt. Sie blickt ernst, aber selbstbewusst. Faistauers Entwurf kommt dem Endergebnis schon sehr nahe; außer dass das Kleid blau ist statt rot und die Frau den Kopf noch schüchtern neigt. Den schwedischen Text hat Faistauer im Entwurf noch nicht vollständig im Griff. Er bringt schlicht nicht alle Buchstaben von „ÖSTERRIKISK KONSTUTSTÄLLNING i Liljevachs-Konsthall“ unter. Das Wort „SEPTEMBER“ hat er verwischt und somit bereits zum endgültigen „SEPT“ korrigiert. Die täglichen Öffnungszeiten werden sich noch auf „10 – 4“ Uhr verkürzen. In der bürgerlichen Schlichtheit der sitzenden Frauenfigur und des Plakatentwurfs insgesamt drückt sich exemplarisch der im vorletzten Kriegsjahr sich immer mehr abzeichnende Konflikt zwischen Zivilgesellschaft und Militärmacht aus sowie die Friedenssehnsucht der vom Krieg bedrängten Bevölkerung. Faistauers Pastellzeichnung ist ein faszinierendes historisches Dokument dieser kaum bekannten kulturpolitischen Großoffensive des schwankenden Kaiserreichs.
ERICH HECKEL* (Döbeln 1883 - 1970 Radolfzell) Wilhelm Simon Guttmann, 1911 Aquarell/Velin, 36,7 x 43,6 cm signiert E Heckel und datiert 1911verso Gemälde „Tulpen“, Aquarell und Bleistift/Velin, nochmals signiert und datiert Erich Heckel 21abgebildet in Galerie Nierendorf, Deutsche Expressionisten, Kat. Nr. 20, Berlin 1988 und Galerie Nierendorf, Ausgewählte Werke aus 4 Jahrzehnten, Kat. Nr. 7, Berlin 1992ausgestellt in State Hermitage Museum St. Petersburg: Gegenlicht 2013-2014 und abgebildet im Ausstellungskatalog S.58, Nr.18Das Werk ist im Nachlass-Archiv registriert. Provenienz: Bassenge Berlin 1982, Galerie Nierendorf Berlin, Karl und Faber München 1989, Bassenge Berlin 2008, PrivatsammlungSCHÄTZPREIS: °€ 15.000 - 30.000 Deutscher Maler und Grafiker des 20. Jahrhunderts. Hauptvertreter des Expressionismus, prägte die Avantgarde der 1910er Jahre. Zunächst Studium der Architektur in Dresden, als Maler Autodidakt. 1905 Gründung der Künstlergruppe die Brücke gemeinsam mit Ernst Ludwig Kirchner, Karl Schmidt-Rottluff und Fritz Bleyl. Weitere Mitglieder Max Pechstein, Emil Nolde und später Otto Mueller. 1907 bis 1910 mit Karl Schmidt-Rottluff in Dangast an der Nordsee, in Dresden Ateliergemeinschaft mit Ernst Ludwig Kirchner. 1911 in Prerow an der Ostsee, gleichzeitig wie Marianne von Werefkin und Alexej Jawlensky aus der Neuen Künstlervereinigung München. Danach nach Berlin, Freundschaften mit Lyonel Feininger, Franz Marc und August Macke. 1913 im Sommer an der Flensburger Förde, 1914 bei Heinrich Nauen in Dilborn am Niederrhein. Im Ersten Weltkrieg als Sanitäter in Flandern v.a. in Ostende, Begegnung mit Max Beckmann und James Ensor. In den 1920er Jahren Im Kreis der Dichter Ernst Morwitz und Stefan George. 1937 wurden seine Werke von den Nazis als entartete Kunst eingestuft, viele Arbeiten wurden vernichtet. Frühe Einflüsse von Jugendstil und Postimpressionismus, u.a. Vincent van Gogh, Paul Gauguin, Paul Cezanne und Edvard Munch. Entwicklung in Richtung eines farbintensiven Expressionismus. Schuf v.a. Porträts, Akte und Genreszenen, auch Landschaften und Stadtansichten. Hauptthema war der Mensch, wie in Porträts des expressionistischen Literaten Wilhem Simon Guttmann aus dem roten Sofa. Auch Kirchner und Schmidt-Rottluff haben Guttmann porträtiert. Heckel malte das Porträt von William Simon Guttmann, als dieser nach Berlin zog. Guttmann war ein österreichischer Schriftsteller und Dichter und hatte damals gerade die Literaturzeitschrift „Neue Weltbühne“ ins Leben gerufen. Guttmanns Freunde waren Maler wie Heckel, Ernst Ludwig Kirchner und Karl Schmidt-Rottluff, die ihn auch porträtierten (siehe zB Kirchner-Holzschnitt Dube 193 und Schmidt-Rottluff-Ölgemälde von 1913, Grohmann 1956, S. 257).Guttmanns Karriere entwickelte sich schrittweise von der Literatur über die Politik der deutschen Revolutionszeit 1918/19 zu seiner einflussreichen Karriere in der Fotografie in Berlin und schließlich in London.
A collection of contemporary art reference books to include Lucian Freud, Uproar The first 50 years of the London Group 1913 - 1963, David Hockney, John Piper in the 1930s, Alexej Von Jawlensky, Picasso, painter and sculptor, Sydney Moderns, Henri Rousseau, Primitivism, Cezanne Portraits, Vincent Van Gogh, Impressionists
Estivalet, Elisabeth (1952 Polen/Frankreich) "Les Lavandes", Lavendelfeld in der typischen Hügellandschaft der Provence, Öl auf Leinwand, mittig rechts signiert, datiert 1999 (Plakette), 20x25 cm, 39,5x44,5 cm mit Rahmen*Elisabeth Estivalet lebt seit den 1970er Jahren in der Provence, deren Landschaft sie in Anlehnung an die Meister des Impressionismus, wie Cezanne stimmungsvoll einfängt. Ihre Malerei strahlt eine angenehme Ruhe aus, in der die unberührte Landschaft der Provence im Vordergrund steht.Durch ihre Teilnahme an der ArtExpo in Las Vegas 1996 wurde ihre Bekanntheit auch innerhalb Amerikas gefestigt.
Cezanne by Himself edited by Richard Kendall Hardback Book 1988 First Edition published by Macdonald and Co (Publishers) Ltd some ageing good condition. Sold on behalf of the Michael Sobell Cancer Charity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
ANTIQUARIAN ART BOOKS in two boxes to include eight volumes of Die Gross-Schmetterlinge der Erdel von Prof. Dr. Adalbert Seitz, two volumes of Royal Acadamy Pictures 1893 and 1895, three Art books, La Peinture Asiatique Son Histoire Et Ses Merveilles, La Peinture Europeene and Pour Une Renaissance De La Peinture Franaise, Sur L'Evolution De La Grande Peinture Etrangere by Roger and Jacques Baschet, Albrecht Durer's Camtliche Rupferftiche, seven editions of Formes (English Edition) 2, 4, 5, 10, 11, 13, 19, two editions of Tintoretto Disegni, iv, v, Sur L'Oeuvre De F. Belran-Masses 1924 and Cezanne Paintings, Introduced by Benedict Nicolson, all titles generally poor condition and ART BOOKS, twelve titles to include Keyes 'The Art of Surimono' volumes I & II, Collection from Palace Museum Renxiong Renxun Renyi Renyu's Paintings and other Oriental and European Art titles, condition fair-good (3 boxes)
SARGENT JOHN SINGER: (1856-1925) American artist, considered the leading portrait painter of his generation. A.L.S., John S. Sargent, on two sides of his correspondence card, Tite Street, Chelsea, n.d. ('Monday'), to 'My dear Kelly'. In a typically hasty hand, making some words illegible, Sargent writes concerning some plans which are 'off for the present', remarking 'the fact that Easter is on the 12th of April, is not an objection to the show opening as soon as on the 17th and he asks me to consider this point with you' and adding 'I don't suppose it is amn easy matter to shift the date - but in appointing a date…..I daresay it would be better to have it a fortnight from Easter when more people will have got back. Let me know if, as I suppose, there is no choice of dates for the galleries…..' VG It is possible that Sargent's correspondent was Gerald Kelly (1879-1972) British painter best known for his portraits. In 1901 Kelly moved to Paris, having decided on a career as a painter, and with the assistance of the art dealer Paul Durand-Ruel he visited Monet, Degas, Rodin and Cezanne and also became friendly with John Singer Sargent, Walter Sickert and W. Somerset Maugham.
Venturi (Lionello). Cezanne, Son Art, Son Oeuvre, 2 volumes, Paris: Paul Rosenberg editeur, 1936, numerous monochrome illustrations, original printed wrappers, a little frayed to extremities with slight loss to head of spine of first volume and foot of spine of second volume, 4to, together withLa Fresnaye (Roger de). Dessins et Gouache (1919-1925), Notice de Waldemar George, Paris: Librairie de France, 1927, thirty colour and monochrome plates (some with two tipped-images to the page), some minor chips to extreme edges, plates, and introductory printed text loosely contained in original publishers cloth-backed boards, with ties, printed paper label to upper cover, covers somewhat faded and with a little wear to extremities, large folio, plus other early 20th century publications mainly on modern French artists, including Waldemar George, Georgio de Chirico, Paris: 1928, Carl Einstein, Georges Braque, Paris: 1934, André Salmon Modigliani, Paris, 1926, Georges Charensol Rouault, Paris, 1926, Marcel Jouhandeau Marie Laurencin, Paris, 1928, Maximilien Gauthier, André Bauchant, Paris, Editions du Chene, 1943 (with colour lithograph frontispiece), André Malraux, Pyschologie de l'Art, 2 volumes (Le Musée Imaginaire/La Creation Artistique, 1947/48), etc., mainly original cloth/original wrappers, 4to & folioQty: (approx. 50)
ANDRÉ BUTZER (B. 1973)Ohne Titel 2006 signed; signed and dated '06 on the reverseoil on canvas139.9 by 119.9 cm.55 1/16 by 47 3/16 in.Footnotes:This work will be included in the forthcoming catalogue raisonné being prepared by the André Butzer Archive.ProvenanceGalerie Guido W. Baudach, BerlinPrivate Collection, EuropeSale: Kunsthaus Lempertz, Auktion 960: Zeitgenössische Kunst, 2 June 2010, Lot 686Acquired directly from the above by the present ownerOhne Titel, 2006 is a signature work from André Butzer's early figurative series depicting arguably the artist's most iconic character, the Wanderer. Instantly recognisable, the misshapen figure looms out from the canvas filling the entire plane in a cacophony of bright colour and texture. Paint is applied in generous swathes, with ribbons squeezed directly from paint tubes to the Wanderer's chest creating a chaotic storm of coloured grids that is played out across the surface whilst thick lashings of impasto to the Wanderer's face appear as if the flesh is slowly melting. The over-inflated head features three swollen protuberances on each side of his face, like old fashioned whiskers, and large gawking eyes that stare out as if entranced. The absence of a neck and the strange long arms contrasted against the short legs defy the natural proportions and physiognomy of the graceful human form favoured by artists over the centuries. Here, the figure is an antithesis to the romanticised notion of elegance and is rather a representation; a character of Butzer's Science-Fiction-Expressionism and inhabitant of his fictional outer space universe NASAHEIM, a term that takes inspiration from NASA and is derived from the German word 'heim' which translates to 'home'. Despite his otherworldliness, the Wanderer also possesses overtures of friendliness and an air of humanity, perhaps best expressed through his awkward yet amiable smile and resemblance to familiar cartoon characters.Underpinning Butzer's practice is a strong foundation based around mass culture. Pop iconography and titles such as Chips Und Pepsi und Medizin (Das Glück) from 2003 alongside the more sinister inscriptions of 'nuclear assault' in Schutztod (Teil 1), 1999, refer to Butzer's childhood in Cold War Western Germany in the 1970s. As Hans Werner Holzwarth articulates: 'The new gods have brought Mickey Mouse, Coca-Cola, potato chips, Star Wars. They also bring the promise of death by atom or blood sugar.' (Hans Werner Holzwarth in: Lutz Eitel (Ed.), André Butzer, Cologne 2021, p. 6). American cartoons and in particular the world of Walt Disney would have a profound impact on Butzer's career. Disney's early animations with their propensity for slap stick comedy juxtaposed against a comedic violence are frequent sources throughout his oeuvre. Indeed, the Wanderer possesses the over exaggerated features and wears the same white gloves as seen on the beloved character Mickey Mouse. Drawing upon modern masters including Edvard Munch, Henry Matisse and Paul Cezanne, and influenced by such contemporary icons as Albert Oehlen and Gerhard Richter, Butzer reinterprets the past by recycling and reusing in a continuous sequence of examination and renewal. In the various depictions of the Wanderer, one is often reminded of Munch's masterpiece The Scream from 1903. Set against an expressionist landscape, the agonised face of the main character in Munch's painting resembles the foreign features of the Wanderer traversing NASAHEIM, evident in such works as Auf der Kleinen Wiese, 2003. 'There is nothing worse than being contemporary. But I actually see myself as a radical traditionalist, otherwise you can't really do anything new. I continue what others have started.' (the artist in: Lutz Eitel (Ed.), André Butzer, Cologne 2021, p. 150). Born in Stuttgart in 1973, Butzer's celebrated paintings combine European Expressionism with the themes of Popular Culture and mass consumerism, creating his own distinct aesthetic of brightly coloured figures and cosmic landscapes through to the minimalistic black and white compositions. The earlier works executed in the 90s often employ a darker palette with tones of grey and black, with figures that are rendered in a more ethereal and ghost-like interpretation. Whilst Butzer continues to employ this monochromatic palette throughout his career, it was the introduction of bold hues and gaudy exuberant tones as evident in the present work, that has cemented Butzer firmly within the canon of contemporary art. Highly sought after internationally, Butzer's works can be found in the esteemed collections of the Art Institute of Chicago, Chicago; Denver Art Museum, Denver; Kunsthalle Emden, Emden; LACMA Los Angeles County Museum of Art, Los Angeles; Miettinen Collection, Berlin; Taschen Collection, Los Angeles; and the Rubell Family Collection, Miami.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
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