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Click here to subscribeCartier-Bresson (Henri). Les Européens Photograhies, 1st edition, Paris: Éditions Verve, 1955, numerous black & white photographs, some marginal toning, original boards designed by Joan Miro, boards & spine slightly marked & rubbed to head & foot, hinges cracked to the top of the spine, folioQTY: (1)
Joan Miro signed triptych "Barb I , II and III " engravings with carburundum in colors (on Emery Arches) dd 1982 with a stamp on the back and signature of his son Emilio || MIRO JOAN (1893 - 1983) triptiek met drie kleuretsen met carborundum (!!) (op Emery Arches) n° 33/75 dd 1982 : "Barb I , II en III" - telkens : 55 x 42 (blad) getekend op verso met stempel "gravure originale, certifiée authentique, pour la succession Miro" en getekend door zijn zoon Emilio F. Miro ref : Dupin 1221
Joan Miró. (1893 Montroig - 1983 Mallorca). Les essències de la terra per Miró. 1968. Mit 14 blatt- und doppelblattgroßen, teils (Farb-) Lithographien. Je auf chamoisfarbenem GVA Pro Bütten. Blattmaße von 49 x 37,3 cm bis 49 x 74,5 cm. Im Druckvermerk von Miro signiert. Lose Doppelblätter in illustriertem Originalumschlag und Leinenkassette. - Kassette ausgeblichen und mit Lagerspuren. Die Graphiken vereinzelt mit kleinen, leichten Braunflecken und teils minimalen Anschmutzungen. Insgesamt in gutem Zustand. Die Abzüge kontrastreich und satt. Cramer, 120. - Die prächtigen Illustrationen im Stil der Abstraction Lyrique entstanden nach Zeichnungen Mirós zu acht alten katalanischen Texten. Die Mappe enthält sowohl diese Texte als auch die Ode auf Miró von Juan Perucho. Les essències de la terra per Miró. With 14 sheet- and double-sheet-sized, partly (colour) lithographs. Each on buff GVA Pro laid paper. Signed by Miro in the printing note. Loose double sheets in illustrated original envelope and linen case. - Cassette faded and with traces of storage. The prints sporadically with small, light brown spots and partly with minimal soiling. Overall in good condition. The prints rich in contrast and luscious. - The magnificent illustrations in the style of Abstraction Lyrique were created from drawings by Miró to eight old Catalan texts. The portfolio contains these texts as well as the Ode to Miró by Juan Perucho.
Miro, Joan: (1893 Barcelona - Calamajor 1983). Fundacio Joan Miro (1032). Einladung zur Eröffnung der Fundacio Joan Miro Barcelona 1975. Farblithographie auf Guarro. Ca. 36 x 30 cm. Unten rechts mit Bleistift sign. bzw. unten links num. mit Ex. 24/75. Unter Glas gerahmt. Cramer V,1032. - Neben den 75 signierten Exemplaren wurde das Motiv als Einladungskarte auf Werkdruckpapier in kl. Format gedruckt. - Leicht vergilbt mit Lichtrand. Später unter UV-beständigem Glas gerahmt. D
Miro, Joan: (1893 Barcelona - Calamajor 1983). Fundacio Joan Miro (1030). Farblithographie auf Guarro 1975. Ca. 45,5 x 56,5. Unten rechts mit Bleistift sign. bzw. unten links num. mit Ex. 31/75. Unter UV-beständigem Glas gerahmt. Cramer V,1030. - Neben den 75 signierten Exemplaren wurde das Motiv leicht verändert als Schutzumschlag für einen Katalogdruck verwendet. - Saubere Darstellung. - Colour lithograph on guarro. Signed and numbered in pencil at the bottom. Good condition. D
Derriere le miroir.: 3 Hefte der Reihe. Paris, Maeght 1977-81. Fol. OU. ╔Enthält:╗ DLM 225, mit 1 dplblgr. Farblithogr. v. Chagall. - DLM 235, mit 2 (Umschl. u. 1 dplblgr.) Farblithogr. v. Chagall. - DLM 246, mit 1 dplblgr. Farblithogr. v. Chagall. - ╔Dabei: DLM 231╗, mit 2 (Umschl. u. 1 dplblgr.) Farblithogr. v. Miro. - ╔Spektrum╗ Nr. 51 zum Dürerjahr 1971, mit 7 (davon 1 sign.) Holzschn. v. Grieshaber. - Spektrum Nr. 92 (Sondernummer). - Zus. 6 Hefte.
Miro, Joan(Barcelona 1893–1983 Mallorca)"Aldebaran". 1978. Farbaquatintaradierung. 12/50. Unten rechts in Bleistift signiert. Blattgrösse 66x50,6 cm. Gerahmt.- Blatt gebräunt. Hellerer Lichtrand. Blatt leicht gewellt. Ränder und Ecken leicht bestossen. Verso partiell an Passepartout montiert.
§ § Joan Miro (Spanish, 1893-1983) 'La Rana' (The Frog)colour lithographsigned in pencil, number 43 of 8019 x 20cm***CONDITION REPORT***Ground paper is somewhat discoloured with some patching showing beneath the main central image, cloth covered mount and plain gilt frame,PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
Folio containing seven posters: signed 'Arnold Newman: Portrait Photographs, the Israel museum', limited edition (4/70) 50 x 87 cm; Nicolas de Stael - Tate Gallery 7 October - 29 November 1981; Joan Miro - 'Homenatge A Pillar Juncosa', 1999-2000; 'Cry In The Wind' film poster; 1932 Royal Academy of Arts - 'Exhibition of French Art' poster; Hartlepool 'Rovers Vs North Durham' Rugby Union poster; 1934 'LMS - Sail Gourock to Dunoon' poster (7)
Joan Miro (Spanish, 1893-1983)La Longue et L'Evaporée (Dupin 585) Etching and aquatint printed in colours, 1973, on wove, signed and inscribed 'H.C.' in pencil, an hors commerce impression aside from the numbered edition of 50, printed by Morsang, Paris, published by Maeght, Paris, with full margins, 623 x 515mm (24 1/2 x 20 1/4in)(I)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
Joan Miro (Spanish, 1893-1983)Le Jardin de Mousse (Dupin 454) Etching and aquatint with carborundum printed in colours, 1968, on wove, signed and inscribed 'H.C.' in pencil, an hors commerce impression aside from the numbered edition of 75, printed and published by Maeght, Paris, with full margins, 589 x 682mm (23 1/8 x 26 7/8in)(SH)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
Joan Miro (Spanish, 1893-1983)One Plate, from 'Je travaille comme un jardinier' (Mourlot 357; Cramer Books 85) Lithograph printed in colours, 1963, on BFK Rives, signed and numbered 30/40 in pencil, printed by Mourlot, Paris, published by XXe Siécle, Paris, the full sheet, 408 x 325mm (16 x 12 7/8in)(SH)(unframed)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
11 MIXED BOTTLES SPIRITSChateau Yaaru 389 Private Posession Fruit Spirit; Mozart Chocolate Cream Pumpkin Spice; Palm Beach Rum Liqueur (50cl); Sortilege Canadian Whisky + Maple Syrup Liqueur; Rhumerie Maple Liqueur; Wolfberger Poire Williams Eau de Vie; Outlier Honey Bun Manx Honey Liqueur (50cl); Manderine Napoleon Grande Cuvee Liqueur; Miro Red Vermouth Rserva (1L); 1757 Red Vermouth (1L); Eierlikor Gold Advocaat
C. Miro (20th century) - two patinated bronze overlay sculptures, one depicting a couple embracing on stone steps, dated 1991 and numbered 268/3999 on the bronze, gilt metal plaque to front, 13¾in. (35cm.) high; the other depicting a sleeping girl in flowing robes, seated on a tall pedestal, signed, dated 1990 and numbered 236/3999 to bronze, on a marble base with gilt plaque, 13¼in. (33.7cm.) high overall. (2) Both in good condition, with no faults.
JULIEN, ISAAC1960 LondonTitel: Baltimore. Datierung: 2003. Technik: 3-Kanal-Videoprojektion von drei parallel laufenden Filmen. Zeit: 11:36 min. Auf SUB-MASTER Digital Betacam und drei DVD-R. Exemplar: Ex. 4/6. Zu der Videoinstallation liegt ein vom Künstler unterschriebenes Zertifikat vom 21. Juli 2004 vor. Zudem wird sie durch umfassende Installationsanweisungen begleitet.Provenienz: - Victoria Miro Gallery, London- Sammlung Prof. Dr. Thomas Olbricht, EssenDie Arbeit "Baltimore" thematisiert die Kinematisierung der Videokunst. Das Walter Art Museum, das Contemporary Museum und das Great Blacks in Wax Museum werden zu den zentralen Orten und Thema von Juliens Werk, ähnlich früherer Arbeiten wie "Vagabondia" und "Three", in denen ebenfalls Museen zum Handlungsort werden. Durch die präzise gewählten Drehorte rückt Julien so auch die im Oeuvre des Künstlers häufig anzutreffenden Themenschwerpunkte Rassismus und Gender in den Fokus seiner Beobachtungen. Julien verbindet diese Orte in einer Art Hommage an die Filme des Schauspielers und Regisseurs Melvin Van Peeble, mit dem "Blaxploitation-Kino", das mit seiner "tough talking, hard-living"-Mentalität als Symbol für "black empowerment" steht. Die Videoinstallation ist nicht nur ironisch und weist Bezüge zur Strömung der Funk-Musik auf, sie vereint ebenso Nostalgie und Futurismus und schwankt zwischen rauen und feinen Elementen. Durch diese übergreifende Umsetzung der Arbeit entzieht sich Juliens Werk der einfachen Kategorisierung.Erläuterungen zum Katalog
REVOLUTIONARY GOVERNMENT - URRUTIA MANUEL: (1901-1981) President of Cuba from January to July 1959. Urrutia resigned his position a will better only seven months, owing to a series of disputes with Fidel Castro, and emigrated to the United States shortly afterward. Rare D.S., `Urrutia´, one page, Presidential Palace La Habana, 13th February 1959, "Year of the Liberation'', in Spanish. The typed document is a decree, according to which Doctor Manuel Urrutia Lleo, in his capacity as President of the Republic of Cuba, states that the council of Ministers has approved the law nº 72, containing two articles stating in part `Article One: We declare dissolve the National Sports Committee and removed from their posts all members of the Committee on the 31 December 1958. Article Two: All faculties and power that law establishes regarding National Sports Committee will be in hand of the Delegate and General Director of Sports that the President of the Republic will appoint...´ Countersigned at the base by Prime Minister Jose Miro Cardona and by the Minister of Education. The document bears at the base a large and attractive blue paper seal of the Cuban Presidency with ribbons affixed. Three binder half-holes to the left border, small tears to the right edge not affecting the signatures. G Jose Miro Cardona (1902-1974) Cuban Politician who served as Prime Minister for a very short period of six weeks. He was appointed by President Urrutia in January 1959 but unexpectedly resigned in February 1959 and was replaced by Fidel Castro.
Monument à Christophe Colomb et Marcel Duchamp Der 'nicht-magische Spiegel des 20. Jahrhunderts' Paris, Georges Visat 1971. - Seltene surrealistische Künstler-Edition - Mit 13 signierten Graphiken - Sauberes, wohlerhaltenes Exemplar Die graphischen Beiträge zu dieser aufwändig gedruckten Künstler-Hommage stammen von Pierre Alechinsky, Arman, Enrico Baj, Hans Bellmer, Camille Bryen, Max Ernst, Raoul Hausmann, Roberto Matta, Joan Miró, Hans Richter, Dorothea Tanning und Man Ray (dieser mit zwei großartigen Duchamp-Porträts; Anselmino 20-21). Text und Typographie stammen von Fequet und Baudier, Paris. Jeder Graphik ist ein kurzer Gedanke oder Satz beigegeben, zur persönlichen Erinnerung an Marcel Duchamp, darunter 'Le Miroir non magique du XXe siècle' (Hans Bellmer), 'La grande trouvaille de Marcel Duchamp: Faire du parasitisme un des Beaux Arts' (Max Ernst), 'Personne peut prendre ta place Marcel! - Où tu étais n'est resté qu'un vide' (Hans Richter) oder in wundervoller Poesie der Titel von Dorothea Tanning 'The maid is late because she laid her mate'. 1 von 125 numerierten Exemplaren. Druck der Graphiken im Atelier Georges Visat, bis auf die schöne Aquatinta-Radierung von Joan Miró, die bei Maeght gedruckt wurde (Dupin 478). EINBAND: Lose Lagen in weißem Orig.-Umschlag mit blindgeprägtem Titel, in dunkelblauer Orig.-Leinendecke und -schuber. 38,5 : 29 cm. - ILLUSTRATION: Mit 13 signierten und zumeist farbigen Orig.-Graphiken von Joan Miró, Max Ernst, Pierre Alechinsky, Man Ray u. a. - PROVENIENZ: Privatsammlung Baden-Württemberg. LITERATUR: Cramer (Miró) 140. - Spies (Ernst) 140. Rare surrealist artist edition, with 13 signed mostly colored original graphics by Joan Miro, Max Ernst, Pierre Alechinsky, Man Ray and others. Loose sheets in white original cover with blindstamped title, in dark blue orig. cloth cover and slipcase. - Clean, well-preserved copy. Dieses Objekt wird regelbesteuert angeboten (R).
M'hamed Issiakhem (Algeria, 1928-1985)Women oil on canvas, framedsigned 'Issiakhem' and dated '73' in Arabic (lower left), executed in 197397 x 78cm (38 3/16 x 30 11/16in).Footnotes:M'hamed Issiakhem is considered one of the founding fathers of Algeria's Modern Art Movement. Issiakhem spent most of his childhood in his native town of Relizane. In 1943, after handling a grenade found at an American camp, Issiakhem sustained severe injuries leading to the amputation of his left arm. The explosion also resulted in the death of his two sisters and nephew. Issiakhem started his artistic training at the École des Beaux-Arts, Algiers, from 1948 to 1951, where he studied fine art and miniature painting under the instruction of Eugène Bersier, Paul Nicolaï and Mohamed Racim. He then travelled to Paris, where he studied at the École Nationale Supérieure des Beaux-Arts from 1951 to 1955.After graduating, he left France for Italy, West and East Germany, Spain, Yugoslavia, Belgium, USSR, and other locations, where he resided and worked until the Algerian independence in 1962. In January 1962, he was resident at the Villa Velazquez in Madrid. Returning to Algeria that year, Issiakhem worked as a caricaturist for the daily Algerian publication Alger Républicain. He co-founded the Union Nationale des Arts Plastiques in 1963, and from 1964 to 1966 he was the director of the École des Beaux-Arts in Oran. In 1971, he was professor of graphic art at the École Polytechnique d'Architecture et d'Urbanisme, Algeria.From 1965 to 1982, he designed the imagery for Algerian bank notes and stamps. Issiakhem travelled to Vietnam in 1972 and the following year received a gold medal at the International Fair, Algiers, for the work he created for the Ministry of Labour and Social Affairs. In 1977, the artist completed a public commission for a fresco in Algiers Airport. In 1980, he received the first Lion D'Or of Rome from UNESCO for African Art. He died in 1985 after suffering from cancer.Issiakhem exhibited his work internationally including solo exhibitions at Galerie Donilstraz, Leipzig, 1959; Musée des Arts Modernes, Algiers, 1974; Galerie Aurassi, Algiers, 1982; and Musée Sidi-Boussaïd, Tunis, 1985. His participation in group exhibitions and festivals include Galerie Carnot, Algiers, 1949; Galerie André Maurice, Paris, 1951; International Festival for Youth and Students, Warsaw, 1955; Musée des Arts Décoratifs, Paris, 1964; and Festival Panafricain de la Culture (where he received the Grand Prix du Jury), 1969. Since his death, retrospectives of Issiakhem's work have been held in Algeria, France and Russia including Syndicat's Gallery, Moscow, 1989; Salle Miro, UNESCO, Paris, 2003; and Musée des Arts Modernes et Contemporains, Algiers, 2009.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
Dame Barbara Hepworth (British, 1903-1975)Forms in Space signed and dated 'Barbara Hepworth 1946' (lower right)pencil, gouache and crayon on gesso-prepared board23.5 x 28.9 cm. (9 1/4 x 11 3/8 in.)Footnotes:ProvenanceWith Piccadilly Gallery, London, April 1964, where acquired by E. SommerTheir sale; Christie's, London, 10 June 2005, lot 103, where acquired by the family of the present ownersPrivate Collection, U.K.The present work is catalogued as D 84 A in the forthcoming catalogue raisonné of Barbara Hepworth's paintings.The 1940s were the most prolific decade for Hepworth in terms of drawings, for having moved to Cornwall in 1939 with Ben Nicholson and their three triplets, she spent less time carving but made, in her words, 'innumerable drawings in gouache and pencil' (Barbara Hepworth quoted in Alan Wilkinson, The Drawings of Barbara Hepworth, Lund Humphries, Farnham and Burlington, 2015, p.59). Kept busy by the domestic necessities of their three children, the drawings were an important outlet for her creativity, as she wrote in a letter to E. H. Ramsden in 1943: 'If I didn't have to cook, wash-up, nurse children ad infinitum, I should carve, carve, carve. The proof of this is in my drawings. They are not just a way of amusing myself nor are they experimental probings – they are my sculptures born in the disguise of two dimensions.' (Ibid., p.69). Hepworth was indeed very productive in creating these abstract drawings during this period, a way of overcoming the historic difficulties of juggling motherhood with furthering her artistic career which were hampered yet further by the scarcity of food and materials during the Second World War, with rationing continuing in Britain until 1954. The present lot, created in 1946, stems from this challenging time. Determined and exceptionally hard-working, Hepworth would endeavour to work through illness or difficulty many times in her life, noting too the societal disadvantages that she often had to fight against as a sculptor: 'I am constantly plagued by this 'little woman' attitude'. Not only did these drawings allow her a creative outlet, but they also sold well, with examples bought by close friends who visited her in Carbis Bay, including C.S. Reddihough, Margaret Gardiner, John Wells, Alastair Morton and others. Indeed a letter detailing a visit from Jim Ede in 1944 shows just how desperate times could be: 'Jim was charming - so nice to the children & so refreshing to be with. He enjoyed all the work, the stones, the shells & crystals & he's lent us a delightful deep blue Miro which looks wonderful in the studio with the sculptures. He bought 3 little paintings of Bens & though he may not realise it completely saved our life - we were at bottom & could not pay either school bills or grocer!' (Barbara Hepworth quoted in Eleanor Clayton, Barbara Hepworth: Art & Life, Thames & Hudson, London, 2021, p.112). Hepworth's approach to these drawings was one of an exploration of ideas, but they were not works that she relied upon for the creation of a particular sculpture, in comparison to Moore's reliance on preparatory drawings. She noted that: 'These drawings I call 'drawings for sculpture'; but it is in a general sense – that is – out of the drawings springs a general influence. Only occasionally can I say that one particular drawing has later become one particular sculpture' (Barbara Hepworth, quoted in Alan Wilkinson, op. cit., p.59). Similarities and ideas stemming from this drawing can be seen however in sculptures such as Pendour, 1947 (Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington DC), and Pelagos, 1946 (Tate, London).The present lot, Forms in Space, has a crispness and definition which is particularly satisfying: a twist of pencil lines convey the tension of strings, tightly radiating out from a curved arc near the centre, which would have been drawn using a ruler and compass. The sculptural shape in the centre of the work emerges from a blue-grey background, flecked and varied, as though the rippling waves of an incoming tide, seen through a veil of mist. Smoothed onto the shapes of the form are shades of white, grey and blue, contrasted with bright areas of sky-blue and yellow. Always intimately connected to the natural world which surrounded her in Cornwall, the sculptures and related drawings of this time had a particularly poetic resonance for Hepworth: 'I used colour and strings in many of the carvings of this time. The colour in the concavities plunged me into the depth of water, caves, or shadows deeper than the carved concavities themselves. The strings were the tension I felt between myself and the sea, the wind or the hills'. (Ibid., p.71).The drawings of the 1940s were for Hepworth then an important outlet, a lifeline for her creative impulses and a vital source of income when domestic duties limited her ability to carve. Always in tune with the landscape around her, she deeply felt and absorbed the inspiration that came to her from the sky, waves, and land that rolled through and around the Cornish peninsula. Independent, finished art works in their own right, these drawings are a special testament to her resolute determination to work whatever the circumstances, and Forms in Space is an important example of this.We are grateful to Dr. Sophie Bowness for her kind assistance with the cataloguing apparatus for the present work.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
Joan Miro, Komposition XXe Siécle Nr. 16, Farblithographie, 1961, signiert, galeriegerahmtJoan Miró, 1893 - 1983, Komposition XXe Siécle Nr. 16, Farblithographie/auf festem, leicht cremefarbigem Velin, 31,4 x 24,6 cm, signiert u. bez. H.C., Auflage 2000 Expl., WVZ Maeght 206, hinter P.p. und Glas gerahmt
Joan Miro, “Umbracle”, signierte Farblithographie, 1973, gerahmt1893 Barcelona - 1983 Palma, abstrakte Komposition mit Schriftzug "Umbracle", Farblithographie auf Guarro-Bütten mit Wasserzeichen, 75 x 56,5 cm, im Stein und unten rechts signiert, P.A. (Auflage 50 Stück), unter Glas im miroesken Unikatrahmen gerahmt, Wvz P. Cramer, Miró, Lithograph V, Nr. 922
Joan Miro (1893-1983). Lithograph in colors on Arches vellum titled "Adlige in der Fallgrube" from the "Ubu Roi" suite. This suite was printed in an edition of 180 in 1966. Includes certificate of Authenticity from Ferdinand Roten Galleries.Literature: Cramer 107.Sight; height: 16 1/2 in x width: 25 1/2 in. Framed; height: 24 in x width: 32 1/2 in.
Verschiedene Grafiker des 20./21. Jh.Umfangreiches Mappenkonvolut mit Werken u.a. von: Joseph Beuys, Dieter Roth, Heinrich Stegmann, Felix Droese, Pidder (Johann Peter) Auberger, Martin Disler, Buchumschläge Miro, Plakate u.a. von A.R. Penck, Udo Lindenberg u.v.m., verschiedene Techniken und Größen. Part. Randläsuren, Knickspuren, überwiegend gute Zustände. In Kartonmappe.
Over five-hundred and fifty autographs and signatures on cards, letters, posters, a book, photographs etc including Jefferson Davis, Lyndon B. Johnson, Orson Welles, Mary Pickford, Mickey Rooney, Peter O'Toole, Julie Andrews, Debbie Reynolds, Diana Dors, Alain Delon, Christiaan Barnard, Monica Lewinsky, Clifford Bax, Dom Mintoff, Pierre Trudeau, Margaret Truman, Marie Stopes, Havelock Ellis, Alfred Piccaver, Elisabeth Schumann, James Doolittle, Will Hays, Jesse Lasky, Billie Whitelaw, Megan Lloyd George, Leni Riefenstahl, Princess Anne & Captain Mark Phillips, Princess Alexandra of Kent & Angus Ogilvy, Prince & Princess Michael of Kent, Laurence Olivier, Leslie Caron, Lillian Hellman, Roddy Doyle, Max Mosley, Charlton Heston, Jerry Lewis, Jeremy Brett, Tallulah Bankhead, Russell Braddon, Marc Chagall, Roy Jenkins, Beatrice Webb, Olave Baden-Powell, Samuel Hoare, Leslie Hore-Belisha, Amelita Galli-Curci, Joan Miro, Tony Blair, Beryl Cook, Giles etcCondition Report:Condition varies but the overall appearance is quite good.There is a large quantity of autographs and signatures in this lot so not all have been checked for authenticity. Prospective buyers should satisfy themselves as to the authenticity of individual signatures.
David Harrison Syrinx Turns into a Reed, 2022 Oil on Postcard Signed verso 15 x 10cm (5¾ x 3¾ in.) About Teetering on the cusp of ordinary perception, David Harrison's paintings, drawings and sculptures present a world where the natural and supernatural go hand in hand. Harrison's works expand the languages of contemporary painting and sculpture, drawing into play parts of the culture which are forgotten, buried, discarded or disregarded. The artist employs all that has lain outside of the mainstream of modern art - age-old symbols and fanciful myth, irrational beliefs, traditional genres like landscape, exuberant sexuality, barbed wit, and wonder at the natural world - in order to speak vividly about our own time, and to revivify the disciplines of painting and sculpture. Harrison's paintings give shape to a complete imaginative universe akin to those of earlier Romantic visionaries, ripe with references to the natural world and populated by a cast of animals and figures drawn from myths, legends, modern-day politics and from his own biography alike. Education 1981-84 BA (Hons) Fine Art, St Martin's School of Art, London, UK 1980-81 Foundation Course, St Martin's School of Art, London, UK Select Exhibitions/Awards Solo Exhibitions 2018 Fuck Me, Lungley Gallery, London, UK 2017 Remake Remodel, Churchgate Gallery, Somerset, UK David Harrison: Photographs, TRAMPS, London, UK 2016 Nightshift, Sargent's Daughters, New York, USA 2015 Flowers of Evil, Victoria Miro, London, UK 2012 Second Nature, VW (VeneKlasen/Werner), Berlin, Germany 2009 Existence, Victoria Miro Gallery, London, UK 2008 Green and Pleasant Land, Daniel Reich Gallery, New York, USA 2005 Victoria Miro, London, UK 2001 Sickbed, Cubitt Gallery, London, UK 2000 Dance Macabre, curated by Peter Doig, London, UK Sickbed, Cubitt Gallery, London, UK 1998 Escape into Reality, Dash Gallery, London, UK 1997 Hanging Gardens, Cubitt Gallery, London, UK 1989 David Harrison New Works, The Space, London, UK Escaape into Reality, The Space, London, UK 1986 David Harrison: One Man Show, Cowboys and Poodles Gallery, San Francisco, USA Group Exhibitions 2021 Queer as Folklore, Gallery 46, London, UK BRUTAL ATTRACTION, Gallery 46, London, UK Into the Cosmere, Brushes with Greatness, London, UK 2019 The Dog Show: Contemporary Art. Chosen by Dog Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
David Harrison Devil In A Blue Dress, 2022 Oil on Postcard Signed verso 15 x 10cm (5¾ x 3¾ in.) About Teetering on the cusp of ordinary perception, David Harrison's paintings, drawings and sculptures present a world where the natural and supernatural go hand in hand. Harrison's works expand the languages of contemporary painting and sculpture, drawing into play parts of the culture which are forgotten, buried, discarded or disregarded. The artist employs all that has lain outside of the mainstream of modern art - age-old symbols and fanciful myth, irrational beliefs, traditional genres like landscape, exuberant sexuality, barbed wit, and wonder at the natural world - in order to speak vividly about our own time, and to revivify the disciplines of painting and sculpture. Harrison's paintings give shape to a complete imaginative universe akin to those of earlier Romantic visionaries, ripe with references to the natural world and populated by a cast of animals and figures drawn from myths, legends, modern-day politics and from his own biography alike. Education 1981-84 BA (Hons) Fine Art, St Martin's School of Art, London, UK 1980-81 Foundation Course, St Martin's School of Art, London, UK Select Exhibitions/Awards Solo Exhibitions 2018 Fuck Me, Lungley Gallery, London, UK 2017 Remake Remodel, Churchgate Gallery, Somerset, UK David Harrison: Photographs, TRAMPS, London, UK 2016 Nightshift, Sargent's Daughters, New York, USA 2015 Flowers of Evil, Victoria Miro, London, UK 2012 Second Nature, VW (VeneKlasen/Werner), Berlin, Germany 2009 Existence, Victoria Miro Gallery, London, UK 2008 Green and Pleasant Land, Daniel Reich Gallery, New York, USA 2005 Victoria Miro, London, UK 2001 Sickbed, Cubitt Gallery, London, UK 2000 Dance Macabre, curated by Peter Doig, London, UK Sickbed, Cubitt Gallery, London, UK 1998 Escape into Reality, Dash Gallery, London, UK 1997 Hanging Gardens, Cubitt Gallery, London, UK 1989 David Harrison New Works, The Space, London, UK Escaape into Reality, The Space, London, UK 1986 David Harrison: One Man Show, Cowboys and Poodles Gallery, San Francisco, USA Group Exhibitions 2021 Queer as Folklore, Gallery 46, London, UK BRUTAL ATTRACTION, Gallery 46, London, UK Into the Cosmere, Brushes with Greatness, London, UK 2019 The Dog Show: Contemporary Art. Chosen by Dog Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
David Harrison Owl and Poodle, 2022 Oil on Postcard Signed verso 15 x 10cm (5¾ x 3¾ in.) About Teetering on the cusp of ordinary perception, David Harrison's paintings, drawings and sculptures present a world where the natural and supernatural go hand in hand. Harrison's works expand the languages of contemporary painting and sculpture, drawing into play parts of the culture which are forgotten, buried, discarded or disregarded. The artist employs all that has lain outside of the mainstream of modern art - age-old symbols and fanciful myth, irrational beliefs, traditional genres like landscape, exuberant sexuality, barbed wit, and wonder at the natural world - in order to speak vividly about our own time, and to revivify the disciplines of painting and sculpture. Harrison's paintings give shape to a complete imaginative universe akin to those of earlier Romantic visionaries, ripe with references to the natural world and populated by a cast of animals and figures drawn from myths, legends, modern-day politics and from his own biography alike. Education 1981-84 BA (Hons) Fine Art, St Martin's School of Art, London, UK 1980-81 Foundation Course, St Martin's School of Art, London, UK Select Exhibitions/Awards Solo Exhibitions 2018 Fuck Me, Lungley Gallery, London, UK 2017 Remake Remodel, Churchgate Gallery, Somerset, UK David Harrison: Photographs, TRAMPS, London, UK 2016 Nightshift, Sargent's Daughters, New York, USA 2015 Flowers of Evil, Victoria Miro, London, UK 2012 Second Nature, VW (VeneKlasen/Werner), Berlin, Germany 2009 Existence, Victoria Miro Gallery, London, UK 2008 Green and Pleasant Land, Daniel Reich Gallery, New York, USA 2005 Victoria Miro, London, UK 2001 Sickbed, Cubitt Gallery, London, UK 2000 Dance Macabre, curated by Peter Doig, London, UK Sickbed, Cubitt Gallery, London, UK 1998 Escape into Reality, Dash Gallery, London, UK 1997 Hanging Gardens, Cubitt Gallery, London, UK 1989 David Harrison New Works, The Space, London, UK Escaape into Reality, The Space, London, UK 1986 David Harrison: One Man Show, Cowboys and Poodles Gallery, San Francisco, USA Group Exhibitions 2021 Queer as Folklore, Gallery 46, London, UK BRUTAL ATTRACTION, Gallery 46, London, UK Into the Cosmere, Brushes with Greatness, London, UK 2019 The Dog Show: Contemporary Art. Chosen by Dog Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
David Harrison Pan and Syrinx, 2022 Oil on Postcard Signed verso 15 x 10cm (5¾ x 3¾ in.) About Teetering on the cusp of ordinary perception, David Harrison's paintings, drawings and sculptures present a world where the natural and supernatural go hand in hand. Harrison's works expand the languages of contemporary painting and sculpture, drawing into play parts of the culture which are forgotten, buried, discarded or disregarded. The artist employs all that has lain outside of the mainstream of modern art - age-old symbols and fanciful myth, irrational beliefs, traditional genres like landscape, exuberant sexuality, barbed wit, and wonder at the natural world - in order to speak vividly about our own time, and to revivify the disciplines of painting and sculpture. Harrison's paintings give shape to a complete imaginative universe akin to those of earlier Romantic visionaries, ripe with references to the natural world and populated by a cast of animals and figures drawn from myths, legends, modern-day politics and from his own biography alike. Education 1981-84 BA (Hons) Fine Art, St Martin's School of Art, London, UK 1980-81 Foundation Course, St Martin's School of Art, London, UK Select Exhibitions/Awards Solo Exhibitions 2018 Fuck Me, Lungley Gallery, London, UK 2017 Remake Remodel, Churchgate Gallery, Somerset, UK David Harrison: Photographs, TRAMPS, London, UK 2016 Nightshift, Sargent's Daughters, New York, USA 2015 Flowers of Evil, Victoria Miro, London, UK 2012 Second Nature, VW (VeneKlasen/Werner), Berlin, Germany 2009 Existence, Victoria Miro Gallery, London, UK 2008 Green and Pleasant Land, Daniel Reich Gallery, New York, USA 2005 Victoria Miro, London, UK 2001 Sickbed, Cubitt Gallery, London, UK 2000 Dance Macabre, curated by Peter Doig, London, UK Sickbed, Cubitt Gallery, London, UK 1998 Escape into Reality, Dash Gallery, London, UK 1997 Hanging Gardens, Cubitt Gallery, London, UK 1989 David Harrison New Works, The Space, London, UK Escaape into Reality, The Space, London, UK 1986 David Harrison: One Man Show, Cowboys and Poodles Gallery, San Francisco, USA Group Exhibitions 2021 Queer as Folklore, Gallery 46, London, UK BRUTAL ATTRACTION, Gallery 46, London, UK Into the Cosmere, Brushes with Greatness, London, UK 2019 The Dog Show: Contemporary Art. Chosen by Dog Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Luigi de Lerma (1907-1965), twee steengoed potten, 1950/'51 en 1951, een met roodbruin en blauw glazuur met ingestempelde en ingekraste decoratie, de ander met diepe reliëfdecoratie naar Miro, beide gemerkt L.D.t.c., catalogus Pottenkijker, blz. 64, nrs. 1 en 2 h. 22,5 cm / diam. 13 cm en h. 15 cm / diam. 10,5 cm Provenance: Collectie J.W.N van Achterbergh [2]
Verve. An Artistic and Literary Quaterly. Volume I, No. 1. Mit dem doppelblattgroßen farbig lithographierten Umschlag von H. Matisse sowie 4 Farblithographien von F. Leger, J. Miro, Rattner und Borès. Paris, 1937. 112 S., 8 Bl. 35,7 x 26,4 cm. Farbig illustrierte Original-Kartonage (etwas berieben, teils leicht lichtrandig und fleckig).Die erste Nummer der legendären Kunstzeitschrift mit den Lithographien zu den vier Elementen von Fernand Léger "Water", von Joan Miro "Air", von Rattner "Fire", und von Borès "Earth". - Enthält außerdem meist ganzseitige photographische Abbildungen von Man Ray, Brassai und Cartier. - Teils leicht gebräunt, Bindung partiell gelockert.
Joan MIRO (1893 - 1983). Abstrakter Vogel.Circa 73 cm x 53 cm im Ausschnitt. Circa 100,5 cm x 70,5 cm mit Rahmen. Farblithographie. Rechts unten handsigniert. Links unten nummeriert 17/150. Passepartout.– Kein Versand durch das Auktionshaus möglich –Joan MIRO (1893 - 1983). Abstract bird.Approx. 73 cm x 53 cm in the cut-out,. Approx. 100,5 cm x 70,5 cm with frame. Coloured lithograph. Signed by hand lower right. Numbered 17/150 lower left. Passe-partout.- No shipping possible through the auction house -
Joan Miro - L'Été (Summer), lithograph in colours, published for 'Verve: An Artistic and Literary Quarterly' (Vol. 1, No. 3) and printed by Mourlot circa 1938, 34.5cm x 25.5cm, within an ebonized frame.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
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