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Click here to subscribeBecker, Joachim. 1946 - 2020Anordnung von wilden Kreisen, Linien und Flächen und einem integrierten Gedicht von Laotse. Mischtechnik. November 1972. Rechts unten signiert und datiert. Im Passepartout, hinter Glas gerahmt, 79 x 63 cm (R). Becker, Joachim Arrangement of wild circles, lines and planes and an integrated poem by Lao Tzu. Mixed media. November 1972. Signed and dated lower right. Framed in a mount behind glass.
Ruddigkeit, Frank (1939 Grenzberg, Ostpreußen - lebt und arbeitet in Leipzig)Hamlet-Vision. Mischtechnik auf braunem Papier. 1994. Signiert und datiert oben links. Großformatige, extrem dynamische, teils apokalyptisch verzerrte Figuren- und Grotesken-Komposition. Hinter Glas gerahmt. 70 x 100 cm, 85 x 115 cm (Ra). Rahmen angeschmutzt. Vision on Hamlet. Mixed media on brown paper, 1994. Signed and dated bottom left. Framed behind glass, frame dirty.
Inez Nathaniel Walker (American, 1911-1990). Mixed media drawing "Untitled (Single Figure)," depicting a woman looking in a mirror. Colored pencil and crayon on paper. Signed and dated 1976 along the left edge.Provenance: Distinguished corporate collection, Minnesota.Unframed; Height: 17 3/4 in x width: 23 1/4 in. Framed; Height: 23 1/4 in x width: 28 1/2 in.
Louis Catusco (American, 1927-1995). Mixed media artwork on paper titled "Sanctum," depicting a linear abstract composition in shades of black, white, and cream, with areas of bright reds, blues, and greens. Signed along the lower right.Provenance: Distinguished corporate collection, Minnesota.Unframed; Height: 14 1/2 in x width: 18 in. Framed; Height: 20 3/4 in x width: 24 1/2 in.
Louis Catusco (American, 1927-1995). Vibrantly colored abstract composition on paper titled "Still Life." Mixed media on paper. Signed along the upper right.Provenance: Distinguished corporate collection, Minnesota.Sight; Height: 29 3/4 in x width: 24 1/2 in. Framed; Height: 30 3/4 in x width: 26 in.
Robert Ray (American, 1924-2002). Mixed media artwork titled "January," 1968, depicting an abstracted wintry horizon. Tissue paper collage and polymer on masonite. Signed along the lower left.Provenance: Distinguished corporate collection, Minnesota.Unframed; Height: 14 in x width: 14 in. Framed; Height: 15 in x width: 15 in.
Sam Scott (American, b. 1940). Abstract mixed media composition on canvas titled "Two Rocks in Water." Signed with Scott's monogram along the lower right; further signed and dated 11/1975 along the verso.Provenance: Distinguished corporate collection, Minnesota.Unframed; Height: 28 in x width: 22 in. Framed; Height: 29 in x width: 23 in.
Beatrice Mandelman (American, 1912-1998). Mixed media artwork on paper titled "Black Time," depicting a group of abstract geometric forms on a black background. Signed along the lower right.Provenance: Distinguished corporate collection, Minnesota.Sight; Height: 33 3/4 in x Width: 23 3/4 in. Framed; Height: 39 3/4 in x width: 29 1/2 in.
Beatrice Mandelman (American, 1912-1998). Mixed media collage on canvas titled "The Mermacolian" depicting brightly colored shapes against a vibrant yellow background. Signed along the lower right.Provenance: Distinguished corporate collection, Minnesota.Sight; Height: 15 in x width: 11 1/4 in. Framed; Height: 15 3/4 in x width: 13 in.
Jules Pascin (Bulgarian/French, 1885-1930). Mixed media painting titled "Lucy au Chapea," ca. 1921, depicting a woman dressed in black with a gray cloche hat, seated and looking down at her folded hands. Oil, tempera, and pastel on paper. Signed along the lower right. A gallery label from Neffe-Degandt, London, England, is affixed to the verso.Sight; Height: 23 in x width: 17 3/4 in. Framed; Height: 37 1/4 in x width: 31 in.
REVISED ESTIMATE Craig Alan (American, b. 1971), 'Relativity III'. Mixed media. Signed lower right. Framed. 100 x 102cm.Condition Report: Extensive scuff-like marks to areas of picture below the glazed surface; unclear whether these are part of the original compositional process. Good condition apart from this and sold in original frame.
Joe Stefanelli (American, 1921-2017), pair of abstract mixed media collages (1951). Signed and dated top right. 44.5 x 57cm approximately each. (2)Provenance: from a private collection of the artist's work. Stefanelli is most well known as a New York School Abstract Expressionist, with contemporaries including Jackson Pollock and Willem de Kooning. This collection focuses instead on the earlier stages of Stefanelli's career, with an emphasis on the war paintings that the artist produced for YANK magazine in the Pacific theatre during World War II. Many of these pictures were previously displayed as part of the exhibition 'Joe Stefanelli: The War Years (1943-1945)' at Brown University, Providence, US.
Nick Holdsworth (contemporary), 'Mercury Rising'. Mixed media. Signed lower right. Framed. Image size 119 x 89cm. Condition Report: Very good condition, with no obvious damage. The artwork does not bear an issue number. It does not come with any other documentation, apart from a quality assurance label verso.
§ Dan Pearce (Australian / British, b.1973). 'Rave To The Grave - NEON'. Collage of early 90s rave flyers and rave memorabilia . Finished with a raised neon light, bright yellow of the iconic smiley face. Light working, with plug and switch. Signed by the artist with a smiley face verso. 80cm x 80cm. Dan Pearce's mission statement: "Dan Pearce is a contemporary mixed media artist, his works take inspiration from street and pop art and juxtaposing it with fine art, his work is bold and confident in style often completely transforming iconic portraits with his own inimitable style and blurring lines between new media, pop and digital art" (https://danpearce-art.com/). Dan Pearce combines modern day street art with the influences of the likes of Warhol and Lichtenstein in works full of energy and texture. Bringing together styles and materials including graffiti, traditional painting, collage, and neon lighting. Dan has been exhibiting since 2013 throughout the UK as well as internationally. He has held successful solo exhibitions in London and his specially commissioned portrait of Anthony Joshua hangs above the boxing ring at the heavyweight champions training camp. His artwork is also collected by a plethora of stars including RagnBone Man, 50Cent and a host of footballers, he is one of the UKs most talked about and collectable contemporary artists. The neon collection, of which this piece is a part, is a collection of iconic portraits, hand embellished sprayed frames and fitted neon lighting. The piece was created by Dan Pearce in the lockdown of 2020. See https://danpearce-art.com/product/rave-to-the-grave-neon/. For a video of the creation of this artwork interspersed with interviews about the early 90s rave scene visit the folllowing link: https://www.instagram.com/p/B98-z4CnwDc/?utm_medium=copy_link. Provenance: purchased from Whitewall Galleries in 2021. Please note that Artists Resale Right may be additionally payable on top of the hammer price for this lot, where the price is above the threshold of Euros 1,000, up to a maximum of 4% of the hammer price, visit www.dacs.org.uk for more information. Condition Report: § Generally good condition, with some marks and surface scratches that may be part of the original making process.
δ Jake and Dinos Chapman (b. 1962 & 1966)TinkerbellendMixed media sculpture with glass dome display case and oak base, 2002, signed and numbered from the edition of 60 on the certificate of authenticity, published by Counter Editions, London, the overall size 200 x 120mm (7 7/8 x 4 3/4in) δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
STEPHEN MOSS HORTON. Framed, signed, dated 1997 and titled ‘Kiss Kiss Cafe’, mixed media collage, four performers on stage, 57cm x 86cm. IMPORTANT: Viewing is available for this lot - please book a slot via the Biddle & Webb website. Online bidding only. Collection by appointment via our website or arrange with Mailboxes Etc couriers ONLY. Restrictions apply to ensure social distancing.
VICTOR MIRA (Zaragoza, 1949 - Munich, 2003)."Bananas, n.4".1980.Mixed media on paper.Signed, dated and titled in the lower left margin.Size: 41 x 61 cm.Sculptor, painter, engraver and writer, his training was basically self-taught. At the age of eighteen he held his first individual exhibition at the N'Art gallery in Zaragoza, which was also the first open-air sculpture exhibition held in that city. Shortly afterwards he moved to Madrid, where he exhibited in 1973 at the Pol Verdié gallery. After spending some time between Madrid and Germany, he moved to Barcelona in 1977. In 1979 he had his first solo exhibition in Munich, at the Tanit gallery, and the following year he showed his work in the United States, at the George Staempfli gallery in New York. From then on his international career took off, with exhibitions in Germany, the United States, Holland, Switzerland, Sweden, Norway, Colombia, France, Belgium and Austria, while he continued to exhibit regularly in Spain. In 2003, shortly before his death, he was awarded the prize for the best living Spanish artist at the ARCO Fair. The most recent retrospective exhibition dedicated to this artist was held in Düsseldorf, Germany, at the Beck & Eggeling gallery. Works by Mira are held in museums and private collections all over the world, including the Museum of Modern Art in New York, the Museo Nacional Centro de Arte Reina Sofía, the MACBA, the Fine Arts Museums of Vitoria and Zaragoza, the Beulas Foundation in Huesca, and the Museo Colecciones ICO in Madrid.
JOSEP GUINOVART BERTRAN (Barcelona, 1927 - 2007)."Ephemeral sculpture project", 1994.Mixed media on paper.Signed, dated and titled. With dedication "A (Giovanni) Papini".Measurements: 73 x 50 cm; 61 x 58 cm (frame).Josep Guinovart trained at the Escuela de Maestros Pintores, at the Escuela de Artes y Oficios and in the classes of the FAD. He had his first solo exhibition at the Syra galleries in Barcelona in 1948. He soon acquired solid prestige, collaborated with Dau al Set and took part in the October Jazz and Eleven Salons. In the 1950s, thanks to a grant, he lived in Paris, where he became deeply acquainted with the work of Cézanne and Matisse, who, together with Miró and Gaudí, were to be his most important influences. In 1955, together with Aleu, Cuixart, Muxart, Mercadé, Tàpies and Tharrats, he formed the Taüll group, which brought together the avant-garde artists of that time. Around 1957, he began an informal and abstract tendency, with a strong material presence, both through various elements and objects (burnt wood, boxes, discarded objects) and through the application of techniques such as collage and assemblage. From the 1960s he moved away from the poetics of Informalism and began to produce works full of signs and gestures, which contain a strong expressive charge in the lines and colours. During the 1970s, he systematically used materials such as sand, earth, mud, straw and fibre cement; in the following decade he focused on experimenting with the three-dimensional projection of his works, which took the form of the creation of environments or spatial settings such as the one entitled Contorn-extorn (1978). He took part in the Biennials of Sao Paulo (1952 and 1957), Alexandria (1955) and Venice (1958, 1962 and 1982), and his prizes include the City of Barcelona, the National Plastic Arts Prize and the Generalitat's Plastic Arts Prize. In 1994, the Espai Guinovart, a private foundation with a permanent exhibition of the artist's work, was opened in Agramunt, Lérida. Interaction with the natural environment, incorporation of organic matter, abstraction and informalism... all this makes up one of the most original artistic personalities on the Spanish avant-garde scene. Although Guinovart was initially inclined towards a social type of figuration, his time in Paris led him to change direction, leading him to embark on a frenetic activity he would continue after his return to Spain.e In the late 1950s, he became part of Informalism and was always eager to surprise, experimenting with textures, objects and colours to give realistic impressions to essentially abstract compositions. His work is forceful, even aggressive in terms of colour, light and density of matter. He is represented in the Museums of Modern Art in Barcelona, Madrid and Mexico City, the Museum of Open Air Sculpture in Santa Cruz de Tenerife, the Museo Nacional Centro de Arte Reina Sofía, the Museo de Bellas Artes in Bilbao, the Museo San Telmo in San Sebastián, the Museo Eusebio Sempere in Alicante, the Museo de Navarra in Tafalla, the Casa de las Américas in Havana, the Bocchum Museum in Germany, the Museo de Bellas Artes in Long Island, New York, and the Museo Patio Herreriano in Valladolid.
NELSON DOMÍNGUEZ (Santiago de Cuba,1947)."Composition", 1994.Mixed media on canvas.Signed and dated in the upper right corner and on the back.Attached certificate of the artist.Measurements: 30 x 30 cm; 51 x 51 cm (frame).As the specialised critics predict, the multifaceted Cuban artist Nelson Domínguez will be remembered as one of the best artists of the Cuban plastic arts. Proof of this is the great appeal and presence of his works in the private collections of renowned personalities such as the Queen of Holland, Steven Spielberg, Robert Redford, Liv Ullmann, etc. Likewise, in 2009, the Cuban Ministry of Culture awarded him the National Prize for Plastic Arts, in recognition of his work as a whole and to raise him to the top of the country's art world. Domínguez has managed to combine the essences of contemporary art while creating an identifiable oeuvre rich in nuances.In Domínguez's work there is all the magic and warmth of the colours of the land where he was born, to which he often adds the colour black, when he wants to emphasise the drama and strength that transcends from the canvas. Another constant in his career is manifested in the permanent memory of the fertile land, the peasants and the aroma of the countryside along whose paths he walked during his childhood in his native Baire. In his works, as in his life, Domínguez flees from the hackneyed and anecdotal. With his characteristic expressionist strokes, impetuous and full of force, he manages to make his canvases brim with authenticity.Nelson Domínguez trained at the San Alejandro Academy of Fine Arts and at the Higher Institute of Art in Havana, where he has been a teacher and head of the Painting Department. He has been a member of the panel of judges in various national and international competitions and has won Cuba's National Prize for the Plastic Arts. He is a member of the Union of Writers and Artists of Cuba (UNEAC) and the International Association of Plastic Artists (AIAP). He has had more than one hundred solo exhibitions and has participated in art fairs and auctions in Cuba and in many countries on all continents. His works can be found in Cuba, Japan, Mexico, France, United States, England, Holland, India, Malaysia, Panama, Brazil, Colombia, etc... He has also obtained numerous prizes and mentions in Cuba and other countries. We cite: National Prize of Plastic Arts 2009 First Prize of Painting and Engraving. Second Salón Juvenil Ciudad de La Habana, Cuba. Prize in Linography. First Triennial of Engraving Víctor Manuel, Havana City, Cuba. First Prize in Painting and Engraving. First Teachers' Salon, Havana City, Cuba. Second Prize in Painting and Engraving (Xylography). Second Teachers' Salon, Havana City, Cuba. Second Prize for Painting and Engraving. III Salon of Teachers Havana City, Cuba. First Prize in Painting and First Mention in Engraving. 26th of July Salon, Havana City, Cuba. First Prize in Xylography. Second Salon of Engraving, Havana City, Cuba. Mention in Xylography and Linoleum. III Engraving Salon. Mention in Engraving. National Salon of Painting, Sculpture and Engraving. National Prize. International Painting Festival. Cagnes-sur-mer, France. Grand Prix. International Biennial of Wood Engraving, Banzka Bystrika, Czechoslovakia. Painting Prize. Triennial of Committed Realist Art. Sofia, Bulgaria. Award. Alejo Carpentier Cultural Promotion Centre, Havana, Cuba. III Honourable Mention. First International Exhibition of Graphic Art, Quito, Ecuador.
FERRÁN GARCÍA SEVILLA (Palma de Mallorca, 1949)."Polígon 17", 1988.Mixed media on canvas.Work reproduced in the Catalogue of the retrospective exhibition, Centro de Cultura Santa Mónica, Barcelona, 1989. pp.336.Signed on the back.Size: 250 x 250 cm.In this piece the artist shows an image of a constructivist and neoplastic style in which colour and line play an important role, as they give the piece a geometric expressiveness that is interwoven with the power of the primary colours.Initially linked to art theory and criticism, García Sevilla has been a professor of fine arts at various universities. He made his individual debut in 1972. After beginning his artistic career in conceptual art, he turned to painting and graphic art, within the framework of so-called postmodern art. He is accustomed to placing well-defined figures, often anthropomorphic, on neutral backgrounds or with insistently repeated motifs. He uses rich, vivid and contrasting colour ranges, with a simplified language, sometimes close to primitive art. García Sevilla's huge paintings, his forceful images, his often brutal humour, the texts that occupy part of the surface of these paintings, his expressive capacity, have become familiar to both Spanish and foreign viewers. Endowed with an imagination almost as prodigious as his will, García Sevilla is a veritable machine for producing paintings, for devouring and transforming images. All this finds its translation on the verbal plane: since his famous interview with Kevin Power, collected in the latter's book "Conversations with..." (1985), no one doubts that he is a real machine for producing paintings, for devouring and transforming images. (1985), nobody doubts that García Sevilla is one of the Spanish painters who has more things to say, and who, under the appearance of improvisation and, if necessary, delirium, gives more thought to the meaning of his work. In this respect, his case is reminiscent of that of Miró, to whom he has always shown great admiration. He has had solo exhibitions in Europe and the United States, and has participated in group exhibitions in Hamburg, Vienna, Munich, St. Petersburg, Lisbon and various Spanish cities, as well as in Documenta in Kassel (1987) and the Istanbul (1989) and São Paulo (1996) Biennials. His solo exhibitions in recent years include the Elga Wimmer Gallery in New York (1992), the Thomas Netusil Kunsthandel in Vienna (2000) and the Fúcares gallery in Madrid (2008). García Sevilla is represented at the Centre Pompidou in Paris - Museo Nacional de Arte Moderno, the Museo Nacional Reina Sofía, the MACBA in Barcelona, the Centro Atlántico de Arte Moderno in Las Palmas, the CaixaForum in Barcelona, the Fundación Suñol, the Museo Colecciones Ico, the Es Baluard in Palma de Mallorca, the IVAM in Valencia, the Fundación Juan March, the Museo Patio Herreriano in Valladolid, the ARTIUM in Vitoria and the MuHKA in Antwerp.
HUGO FONTELA (Grado, Asturias, 1986)."Japanese Pier", 2008.Mixed media on canvas.Attached certificate of authenticity issued by the artist.Signed, dated, titled and located (Manhattan, NYC) on the back.Measurements: 100 x 100 cm; 104 x 104 cm (frame).This work is part of a relevant stage in Hugo Fontela's career, since after 2007, he decided to start with the series Japanese Landscapes, which together with Blue piers, made up the exhibition An American Vision (Casa de Vacas, Madrid 2008), which received wide recognition from both the art critics and the public. The prestigious young painter of Asturian origin Hugo Fontela has dedicated several series to Manhattan, where he has lived since 2005. Hugo Fontela dedicated several series to the view of piers and the pictorial assimilation of mimes, always with his characteristic aesthetic lyricism. Through "Piers", "Big Pier" and "Blue piers", he captured the abstraction of a figurative landscape in which he imbues a great emotionality that invites the spectator to immerse himself in a misty atmosphere. In the painting in question, his communicative and expressive power is evident, using the minimum elements, achieving a composition of the utmost visual elegance. His language, although abstract, allows us to read between the lines stories buried in the memory. The artist explains that he usually starts from an image of a place, often an urban landscape, which has been engraved in his memory, and then visualises this imprint on canvas or paper. His aim is to construct pieces in which the unreal is an essential aspect in order to be able to understand them, to create new realities and to ensure that the image that moved him in the beginning also moves the viewer. His love of painting began in childhood. Under the guidance of the Asturian painter Amado González Hevia (Favila), he entered the School of Arts and Crafts in Avilés when he was fourteen years old. He later entered the Oviedo School of Art, and when he was about to begin studying for a degree in Fine Arts he decided to move to New York and joined the Art Students League of New York. In 2005 he received the BMW Painting Prize, in its twentieth edition, and in 2007 he won the prize for best artist at the ESTAMPA Graphic Art Fair,3 awarded by the Madrid Association of Art Critics. In 2006, together with Juan Hidalgo, he participated as a guest at the XVIII Bienal de Pintura de Zamora. In 2011 the Museum of the Abbey of Montserrat, in Barcelona, began an exhibition of his work done in America, which was inaugurated by the Prince and Princess of Asturias. That same year, as a result of two stays in Rio de Janeiro with Oscar Niemeyer (2009 and 2011), the exhibition Niemeyer by Fontela is held at the Niemeyer Centre in Avilés. Banco Sabadell has his work. Among the centres that have exhibited his work are the Casa de Vacas in Madrid, the Palacio Revillagigedo in Gijón, the Círculo de Arte in Barcelona, the Instituto Cervantes in Chicago, the 100kubik Gallery in Cologne, the Niemeyer Centre, the Gabarron Foundation and the Carles Taché Gallery in Barcelona.
*Robert Johnson Washington (1913-1997), a stoneware circular platter, with incised details and with mixed media elements, from the series 'The Elements', 53cm diameter*Artist's Resale Right may apply to this lot.Condition report: Additions crazed and raised. Fibre additions fragile. Glazes crackled and fragile.
*Robert Johnson Washington (1913-1997), a stoneware circular platter, with incised details and with mixed media elements, from the series 'The Elements', 48cm diameter*Artist's Resale Right may apply to this lot.Condition report: Fragile metal inclusions. Glazed crackled and appears to be some losses to these areas.
*Robert Johnson Washington (1913-1997), 'Pearl Diver', a mixed media wall panel, with painted and raised designs, numbered ‘1294 (No.1)’, 46 x 61cm, mounted on a painted board, 59 x 71cm overall*Artist's Resale Right may apply to this lot.Condition report: Delicate. Crazing and lifting to the glazed areas. Rough cut edges.
*Robert Johnson Washington (1913-1997), a mixed media wall panel, decorated in greens, yellows, and blue, with various inclusions of metal and fibres, numbered '1313', 41 x 50cm, mounted on board*Artist's Resale Right may apply to this lot.Condition report: 55.5 x 63cm overall. Some fragile parts to the panel corners and edges. Cracking and crazing to the panels. The backboard is slightly discoloured.
SAUL CATHCART. 'Breathing in Sea Air, Porthmeor, St. Ives'. Mixed media on card. Signed, titled & dated June 2017 to the reverse. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect. WE CANNOT SHIP THIS LOT or other large, glazed or fragile pictures. Our recommended carrier is MBE Plymouth on +44 (0) 1752 257224 or info@mbeplymouth.co.uk
HEATHER BRAY. Fisherman's cottages. Mixed media on paper. Signed. 31 x 29cm. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect. WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
JUDY SYMONS. Reclining nude. Mixed media. Signed. 21 x 30cm. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect. WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
NAOMI FREARS. 'Archway with figures'. Mixed media. Signed. 14 x 13cm. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect. WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
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