Picasso-Teller "Deux Danseurs" (Zwei Tänzer). Werkstatt Madoura, Georges und Suzanne Ramié. Prägemarke "Madoura Plein Feu" und "Empreinte Originale de Picasso", ohne Exemplar-Nummer. 1974. Vallauris, Frankreich. Entwurf: Pablo PICASSO (1881 Málaga - 1973 Mougins), 1956. In einer Auflage von 450 Exemplaren gefertigt. Fayence, schwarze Mattglasur, weiß engobiert. Ca. 25 x 25 cm. Quadratischer Teller mit gerundeten Ecken. Reliefdekor mit zwei tanzenden, stilisierten Figuren, umkränzt von Punkten und Strichen. Geklebter Bruch, partiell leicht berieben. Der spanische Künstler Pablo Picasso war einer der bedeutendsten Maler, Grafiker und Bildhauer des 20. Jahrhunderts. Er studierte in Barcelona und Madrid und lebte seit 1904 in Frankreich. Im provenzalischen Dörfchen Vallauris gestaltete und formte Picasso über einen Zeitraum von etwa 10 Jahren in der Werkstatt "Madoura" des Töpferehepaares Ramié verschiedenste Keramiken, nach deren Originalen eine Vielzahl von Repliken entstand. Literatur : Alain Ramié, Picasso, Cataloque de l`oeuvre céramique édité 1941-1974, Madoura, Abb. 380. Provenienz : Aus Thüringer Privatbesitz, in den 1970er Jahren in der Werkstatt Madoura, Vallauris gekauft. Aufrufzeit 25. | Okt. 2024 | voraussichtlich 10:51 Uhr (CET)Picasso plate "Deux Danseurs" (Two Dancers). Workshop Madoura, Georges and Suzanne Ramié. Mint mark "Madoura Plein Feu" and "Empreinte Originale de Picasso", without copy number. 1974, Vallauris, France. Design: Pablo PICASSO (1881 Málaga - 1973 Mougins), 1956, produced in an edition of 450 copies. Faience, black matt glaze, white engobed. Approx. 25 x 25 cm. Square plate with rounded corners. Relief decoration with two dancing, stylized figures, surrounded by dots and lines. Bonded break, partially slightly rubbed. The Spanish artist Pablo Picasso was one of the most important painters, graphic artists and sculptors of the 20th century. He studied in Barcelona and Madrid and lived in France from 1904. In the small Provençal village of Vallauris, Picasso designed and shaped a wide variety of ceramics over a period of around 10 years in the "Madoura" workshop of the Ramié pottery couple, after whose originals a large number of replicas were created. Literature : Alain Ramié, Picasso, Cataloque de l`oeuvre céramique édité 1941-1974, Madoura, fig. 380. Provenance : From a private collection in Thuringia, purchased in the 1970s from the Madoura workshop in Vallauris. Aufrufzeit 25. | Oct. 2024 | probably 10:51 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
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PICASSO, Pablo (nach/after)(1881 Málaga - 1973 Mougins) "Grande Maternité"Farblithografie auf Arches-Bütten. Im Druck signiert. Blindstempel: Editions Combat de la Paix, Paris, Blindstempel: "Copyrigt S.P.A.D.E.M. Paris". Blatt: 65,2 x 50 cm. Nach einer Farbstiftzeichnung 1963. Etwas stockfleckig. Spanischer Maler, Grafiker und Bildhauer, zählt zu den bekanntesten Künstlern des 20. Jh.; Mitbegründer des Kubismus. "Wenn Kunstkritiker sich treffen, sprechen sie über Form, Struktur und Bedeutung. Wenn sich Künstler treffen, sprechen sie darüber, wo man preiswertes Terpentin kaufen kann." (Zitat: PP, https://beruhmte-zitate.de/autoren/pablo-picasso/). Aufrufzeit 26. | Okt. 2024 | voraussichtlich 10:53 Uhr (CET) PICASSO, Pablo (after/after)(1881 Málaga - 1973 Mougins) "Grande Maternité"Color lithograph on Arches laid paper. Signed in the print. Blindstamp: Editions Combat de la Paix, Paris, blindstamp: "Copyrigt S.P.A.D.E.M. Paris". Sheet: 65.2 x 50 cm. After a colored pencil drawing 1963. Some foxing. Spanish painter, graphic artist and sculptor, one of the most famous artists of the 20th century; co-founder of Cubism. "When art critics meet, they talk about form, structure and meaning. When artists meet, they talk about where to buy cheap turpentine." (Quote: PP, https://beruhmte-zitate.de/autoren/pablo-picasso/). Call time 26 | Oct. 2024 | probably 10:53 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
MOULY, Marcel(1918 Paris – 2008) Südliches Interieur mit zwei FrauenFarblithographie. Bleistiftsignatur unten rechts. Probedruck. Papier: 22 x 22 cm; Motiv: 19,5 x 20 cm. Gerahmt & hinter Glas : 40 x 40 cm. Szene in einem Innenraum mit zwei Damen bei Tee und geöffnetem Fenster. Französischer Maler, Umkreis von Pablo Picasso, Marc Chagall und Yves Klein. Aufrufzeit 26. | Okt. 2024 | voraussichtlich 10:58 Uhr (CET) MOULY, Marcel(1918 Paris - 2008) Southern interior with two womenColor lithograph. Pencil signature lower right. Proof print. Paper: 22 x 22 cm; motif: 19.5 x 20 cm. Framed & behind glass : 40 x 40 cm. Scene in an interior with two ladies having tea and an open window. French painter, circle of Pablo Picasso, Marc Chagall and Yves Klein. About 26 Oct 2024 | probably 10:58 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
MOULY, Marcel(1918 Paris – 2008) "Grünes Stillleben mit roter Flasche"Farblithographie. Bleistiftsignatur unten rechts. Probedruck. 19 x 19 cm. Gerahmt & hinter Glas : 42 x 41,5 cm. Stillleben mit Glas, Kanne, Flasche und Suppenterrine in einem grünen Raum. Französischer Maler, Umkreis von Pablo Picasso, Marc Chagall und Yves Klein. Aufrufzeit 26. | Okt. 2024 | voraussichtlich 11:01 Uhr (CET) MOULY, Marcel(1918 Paris - 2008) "Green still life with red bottle"Color lithograph. Pencil signature lower right. Proof print. 19 x 19 cm. Framed & behind glass : 42 x 41.5 cm. Still life with glass, jug, bottle and soup tureen in a green room. French painter, circle of Pablo Picasso, Marc Chagall and Yves Klein. Call time 26 | Oct. 2024 | probably 11:01 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
MOULY, Marcel(1918 Paris – 2008) StilllebenFarblithographie. Frankreich. Bleistiftsignatur unten rechts. E.A.. Motiv: 18,5 x 12,5 cm. Gerahmt & hinter Glas : 48 x 41 cm. Buntes Stillleben mit Gitarre, Flaschen, einem Obstkorb und einem Buch vor einem Fenster, in Lila- und Rosa-Tönen, Gelb und Schwarz. Französischer Maler, Umkreis von Pablo Picasso, Marc Chagall und Yves Klein. Aufrufzeit 26. | Okt. 2024 | voraussichtlich 11:01 Uhr (CET) MOULY, Marcel(1918 Paris - 2008) Still lifeColor lithograph. France. Pencil signature lower right. E.A.. Motif: 18.5 x 12.5 cm. Framed & behind glass : 48 x 41 cm. Colored still life with guitar, bottles, a fruit basket and a book in front of a window, in shades of purple and pink, yellow and black. French painter, circle of Pablo Picasso, Marc Chagall and Yves Klein. Call time 26 | Oct. 2024 | probably 11:01 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
λ MARIE LAURENCIN (FRENCH 1883-1956) L'ESPAGNOLE Oil on paper laid to canvas, oval Signed (lower right) 53 x 43cm (20¾ x 16¾ in.)Provenance: Peter Meltzer, Canada, Private Collection, where purchased by Count Manfredi della Gherardesca Exhibited: Toronto, Art Gallery of Ontario, on loan in memory of Elise and David Meltzer, 1979 Literature: Daniel Marchesseau, Catalogue raisonne de L'oeuvre peint, Volume II, Paris, 1999, no. 1362 Marie Laurencin's exposure to avant-garde movements at the turn of the 20th century in Paris were integral to her artistic development and heavily influenced her journey to find her unique and distinctive style. Her relationship with the poet Guillaume Apollinaire and introduction to Georges Braque, Pablo Picasso and important figures of l'ecole de Paris introduced Laurencin to artistic movements such as Cubism and Fauvism. Laurencin rose to prominence in Paris as a notable figure within the Cubist group and exhibited with the Section d'Or at the Salon des Independents in 1910-11. Following this, Laurencin was represented by Paul Rosenberg from 1913-1940. Despite this, Laurencin remained on the periphery of Cubism and Fauvism borrowing elements of stylisation such as simplified lines and segmenting the subject into planes of colour and shapes but with her own interpretation and approach, the image remained realistic and immediately familiar. Her dreamlike colour palettes became integral to her work and this contrasted with piercing eyes conjures an emotional response, melancholic and erotic. Marie Laurencin's ethereal female figure of a Spanish lady fills the oval composition. Her elongated face is balanced by the dramatic head piece which drapes across her forehead. The viewer is immediately struck by the jet-black eyes which penetrate through the canvas. Laurencin has used her distinctive colour palette of muted colours, blue, pink and pastel tones juxtaposed against the bold black lines which appear to represent the figure's mantilla held high upon the head traditionally by a peineta. Laurencin was exiled to Spanish with her husband at the start of the First World War until 1919, it is possible that this period inspired the present lot. By 1920, Laurencin settled back in Paris and rose to prominence as an established portrait painter and illustrator. The strong female figures which sat at the heart of her subject matter were also the driving force behind her art. Laurencin strove to promote creativity and artistic endeavours amongst women in a male dominated society. Laurencin supported the Société des Femmes Artistes Modernes and exhibited with the group on several occasions between 1931-1938. The Marie Laurencin Museum was opened in Japan in 1983 becoming the first museum in the world dedicated to a female painter. Condition Report: Oil on paper laid to canvas. Evidence of old craquelure visible to the headdress and background. Ultraviolet light reveals infilling to the craquelure in addition to scattered spots of retouching throughout. Condition Report Disclaimer
▲ Pablo Picasso (Spanish, 1881-1973), 'Oiseau au Ver', (AR 172), a white earthenware ashtray with black oxide and white glaze, stamped and marked 'Edition Picasso', 16cm diameterThis design was conceived in 1952 and executed in an edition of 500.Condition ReportChip to rim and outer rim. Some rubbing. There is also small cip to the underside of the rim and to the underside of the base, commensurate with use. Some slight bubbling to pale blue glaze. There is also some faint black marks to the rim of the bowl again commensurate with use. Please see additional photos.
PABLO PICASSO Malaga 1881 - 1973 Mougins: Couple et petit Valet encadrés par une Portière. Blatt XXII aus der Folge zu Fernando Rojas, „La Célestine“. Aquatintaradierung 1968. Bloch 1657. Baer 1672, B, c (von C). - Von fremder Hand nummeriert „297/350“, eines von 400 Expl. (Gesamtaufl.) der Buchausgabe; Edition Crommelynck, Paris 1971. Mit dem seitenverkehrten Datum und der Nummer „III“ in der Platte. Auf leichtem chamoisfarbenen Vélin mit dem Wasserzeichen „La Célestine“. 12,2 x 8,8 cm. An den Ecke auf Unterlage montiert. [bg]
PABLO PICASSO Malaga 1881 - 1973 Mougins: Jean Cocteau et son Temps. Plakat zur gleichnamigen Ausstellung des Musée Jacquemart-André, Paris 1965. Photolithographie nach der 1916 entstandenen Zeichnung (Brustbild Jean Cocteau in Uniform im Dreiviertelprofil nach links) Picassos über beigefarbenem Grund bei Mourlot 1965. Czwiklitzer (dtv) 257. - Mit dem Namenszug, Datum und Widmung „à mon ami Jean Cocteau“ in der Darstellung sowie Druckeradresse und Plakattext. Auf Vélin. 70,9 x 48 cm. [ms]
PABLO PICASSO Malaga 1881 - 1973 Mougins: Réductions en Vignettes des Affiches créées par Picasso pour les Expositions de Vallauris de 1948 à 1958. Bogen mit den 17 von Picasso geschaffenen Plakaten in Verkleinerung (in zweifacher Ausfertigung, da gegenläufiger Druck) als Klebemarken. Farboffsetlihographie. Mit den zweifachen typographischen Drucker- (Imp. Arnéra, Vallauris) und Verlegeradressen (a.v.e.c, d.h. Association Vallaurienne d`Expansion Céramique) und zweizeiliger Bezeichnung „Réduction...“. Auf Vélin mit Perforationen und gummierter Rückseite. Je 4,4 x 3,5 cm (Blatt: 32,4 x 24,9 cm). Papierrand schwach fleckig und geringfügig berieben. [ms]
PABLO PICASSO Malaga 1881 - 1973 Mougins: Au Cirque. Kaltnadelradierung mit zartem Plattenton 1905/06. Bloch 9. Baer 11, c, Abdruck von der gestrichenen Platte. - Mit der seitenverkehrten Bezeichnung „Biffé le 31 Oct 1913“ in der Platte. Auf chamoisfarbenem Vélin. 22 x 14 cm. Mit schwachen Griffspuren sowie linke obere Ecke leicht bestoßen. [ms]
Esther Mahlangu (South African, born 1935)Abstract 2016 signed and dated 'ESTHER MAHLANGU 2016' (lower left under edge of canvas)acrylic on canvas50.5 x 70.5cm (19 7/8 x 27 3/4in).Footnotes:ProvenanceThe artist's studio;34FineArt, South Africa/London;Private collection, UK.ExhibitedLondon, BMW Pavilion, Frieze (2016).IllustratedEsther Mahlangu 80, Catalogue, (second edition) ISBN 9780620670319, p. 61(A copy of the catalogue will accompany the present lot).Through painting, Esther Mahlangu displays abstraction born out of the South African resistance culture which became free of didactic principles at the turn of the century. This new era of political liberty, given the release of Nelson Mandela and the legalisation of the African National Congress within politics, gave way to the ethos that conceptual art could be explored beyond the modal thematic examination of the human figure. This concept of the human experience, as Mahlangu explores, extends beyond the confines of the physical body, and is indeed entrenched in the historical and cultural fabric relative to identity. It is Esther Mahlangu's unique way of responding to colonial and Apartheid history that distinguishes her work in a post-Apartheid climate.Described by Ashraf Jamal as 'utopian', Mahlangu's art can be widely considered as a look to the future of South African aesthetics in what he argues is a step away from the dominating figurative aesthetic generated by South African artists. While her artistic practice is a clear display of the Ndebele traditional aesthetics, Jamal also observes that the influence of European minimalism and constructivism has been reclaimed by Mahlangu, given cubist artists such as Pablo Picasso appropriating traditional African aesthetics in developing such movements. It is Mahlangu's exploration of colour, surface, and line that acts as a liberating and progressive immaterial exploration of herself and her culture.Continuing to excel in her popularity and significance as an artist, Esther Mahlangu featured in Foreigners Everywhere, the main exhibition at this year's 60th International Art Exhibition, La Biennale di Venezia. Furthermore, a major retrospective exhibition of Esther Mahlangu's work titled, Then I Knew I Was Good at Painting: Esther Mahlangu, opened at the Iziko South African National Gallery in Cape Town in February 2024 and will continue to tour global museums throughout the year. Mahlangu recently held two international solo exhibitions in 2023 at Almine Rech Gallery in London and Paris. Mahlangu has most recently been honoured by BMW by presenting her oeuvre at Frieze London 2024 and has further unveiled her site-specific work 'Umuntu ngumuntu ngabantu' ('I am because you are') at the Serpentine North gallery in September 2024, running until September 2025.For further information on this lot please visit Bonhams.com
Pablo Picasso (Spanish, 1881-1973)"Garcon et Dormeuse a la Chandelle" - 1934Aquatint and etching on Montval laid paper. Pencil signed lower right. Appraised for $78,850 in 2021.Comes with COA from Martin Lawrence Galleries.Impression Size: 9.25 x 11.5 in.Overall Framed Size: 24.75 x 27 in.Framed behind glass.Garcon et Dormeuse a la Chandelle is one of 100 different etchings from the Vollard Suite (Plate 26), a series Picasso produced from 1930 to 1937 for Parisian publisher Ambroise Vollard. While over 300 sets were printed, complete suites are exceedingly rare, instead the prints from this series now are often found individually.The suite spans Picasso's passionate, sometimes tumultuous affair with his teenage model and muse Marie-Therese Walter. Many of the earlier works in the series portray a sculptor in his studio among his work?alluding to the classical myth of Pygmalion (see lot 263). The later prints become increasingly dark as both his relationship with Marie-Therese waned and Europe marched toward World War II.This particular print marks a turning point in Picasso's relationship with Marie-Therese, as it was created when Picasso learned that she was pregnant with his child in 1934. Her pregnancy marked the end of Picasso's then marriage to the Ballet Russe dancer Olga Koklova and also the beginning of the end for his relationship with his young model (just one year later he would meet Dora Maar?with whom Marie-Therese would become embattled over Picasso's affection).This print, however, portrays a tranquil scene of a sleeping woman (Marie-Therese); her fertile feminine features illuminated by candlelight, with a young man (likely intended to symbolize Picasso himself) sitting and thoughtfully watching her at rest. A single candle illuminating the scene creates a stillness and chiaroscuro reminiscent of Rembrandt's nocturnal scenes.The onset of World War II and the sudden death of the publisher Vollard in a car crash in the south of France in 1939 delayed the distribution of this major suite of etchings until the 1950s. Bloch 226; Geiser 440.
PAUL GAUGUIN (1848-1903)Autoportrait Pencil and black crayon on paper13.9 x 11.5cm (5 1/2 x 4 1/2in).Executed in Le Pouldu circa 1889-1890Footnotes:Please note that this work will be presented to the Comité Paul Gauguin at the Wildenstein Plattner Institute on 30 September 2024. ProvenanceMarie Henry Collection, Le Pouldu (probably acquired directly from the artist).Léa 'Mimi' Henry Collection, France (by descent from the above); her sale, Drouot, Paris, 16 March 1959, lot 114.Marlborough Fine Art, London, no. 02258 (probably acquired at the above sale).Fritz Gross Collection, London, no. 396 (acquired from the above in November 1960).Private collection, London (by descent from the above).ExhibitedLondon, Marlborough Fine Art, XIX and XX Century European Masters, Paintings, Drawings, Sculpture, Summer 1959, no. 23.Paris, Galerie Charpentier, Cent oeuvres de Gauguin, 1960, no. 64.Munich, Haus der Kunst, Paul Gauguin, 1 April - 29 May 1960, no. 89.Newcastle, Hatton Gallery, Impressionist and Modern: The art and collection of Fritz Gross, 11 May – 9 June 1990, no. 18 (later travelled to Oxford).LiteratureR. Nacenta, 'Gauguin', in Art et style, no. 55, 1960 (illustrated). K. Mittelstädt, Paul Gauguin, Self-portraits, Oxford, 1968, no. 17 (illustrated p. 61).Autoportrait is strongly tied to Paul Gauguin's time in Le Pouldu, a secluded coastal village in Britanny where the artist sought refuge in August 1889. Fleeing the commercialisation of Pont-Aven, Gauguin found a creative sanctuary at Buvette de la Plage, an inn run by Marie Henry (1859-1945) in the village. Along with Meijer de Haan (1852-1895) – whom Gauguin humorously referred to as his 'pupil' in his letters – the inn became a vibrant artistic hub, with its dining room transformed by murals and artworks executed by the two artists, which are still observable today. Marie Henry, who later became de Haan's lover, retained some of Gauguin's works, likely as compensation for his stay, as Gauguin had been living on credit. Passing thence by descent through the Léa 'Mimi' Henry Collection, this piece was subsequently acquired by Fritz Gross (1895-1969), the Austrian artist, architect and art collector. Gross, who escaped Nazi rule and moved to London in 1938, built an impressive collection of Impressionist and Modern art, including pieces by Gauguin, Pablo Picasso, Edgar Degas, Pierre-Auguste Renoir and Henri de Toulouse-Lautrec. His passion for collecting was celebrated in an exhibition dedicated to his collection held at the Ashmolean Museum in 1990.Autoportrait highlights the significance of Le Pouldu to Gauguin's creativity and self-exploration. In a letter to Émile Bernard during the winter of 1889, Gauguin expressed his desire to reinvent himself, stating: 'I hope that this winter you will find in me a new Gauguin... What I am trying to get at is a corner of myself which I do not yet understand' (M. Malingue, Paul Gauguin: Letters to his Wife and Friends, 2003, p. 122). His depiction in simple, native Breton attire reflects this quest for self-discovery and the incorporation of the local culture into his identity.For further information on this lot please visit Bonhams.com
LÉONARD TSUGUHARU FOUJITA (1886-1968)Nu assis signed and dated 'Foujita 1929' and further signed in Japanese (lower right); signed, inscribed and dated 'Paris 1929 Foujita' and further signed and inscribed in Japanese (on the stretcher)oil on canvas81.3 x 53.8cm (32 x 21 3/16in).Painted in Paris in 1929Footnotes:The authenticity of this work has been confirmed by Sylvie and Casimir Buisson, ACRB (Art Cataloguing Research Buisson), Paris. This work will be included in the forthcoming Vol. V of the Léonard Tsuguharu Foujita catalogue raisonné, currently being prepared.ProvenanceGalerie Colette Weil (acquired directly from the artist).Private collection, Germany and UK (probably acquired from the above circa 1930).Private collection, UK (a gift from the above circa 1965). Private collection, UK (a gift from the above circa 1997).'An idea came to me one day: in Japanese painting, there are only a small number of nudes. Even painters like Harunobu or Utamaro only let you see part of the leg or knee and could only express the feeling of the skin in those places. This is what encouraged me to start painting nudes again [...], with the precise objective of representing the quality of the most beautiful material of all: that of human skin.'(Foujita, '17 ans en France', quoted in exh. cat., Foujita, peindre dans les années folles, Paris, Musée Maillol, 2018, p. 119.) The Japanese painter Léonard Tsuguharu Foujita achieved this renewed aspiration to depict the unadorned female figure through a series of paintings known as the 'milky white' nudes. A leitmotiv of the Western artistic canon, this exploration initiated one of Foujita's most prolific and successful bodies of work, much praised by his contemporaries since the early 1920s. The present Nu assis, with her pearly skin and daring pose, was painted at a key moment of the artist's life trajectory, in the twilight of the so-called 'Années folles à Montparnasse' and shortly before he embarked on long travels between Japan and the Americas. In 1929 Foujita was at the highest point of his career: among the most celebrated figures of the École de Paris, he was one of the few artists of this school to achieve commercial success in his lifetime. Together with public acclaim, his luxurious and extravagant lifestyle attracted the attention of the French tax authorities to whom he owed a hefty sum. His following tour in Japan with his wife Lucie Badoul ('Youki') was thus also motivated by the need of exhibiting - and selling - his Parisian works. The museums and the newspapers in Tokyo were thrilled with the return of the local artist-idol after 16 years. In just 70 days, the travelling exhibition attracted more than 70,000 visitors, an unprecedented number for a modern artist. After all, Japan's recent opening to the West with the Meiji Renovation had stimulated a great cultural curiosity towards Europe. That same year he took part in the First Salon of Japanese Painters at Galerie La Renaissance and he chaired the committee for the Art Japonais: école classique contemporaine show at the Musée du Jeu de Paume in Paris.Foujita was effectively an artist suspended between two worlds, masterfully capable of inhabiting and bridging them both. Nu assis stands as a testament to this new blended aesthetic language, harmonising Eastern technique and Western canonical subject matter. At the beginning of the 20th Century, the nude had emerged as a symbol of artistic evolution and renewal, inspiring many contemporary artists to infuse their creative flare into the genre. This included renowned figures such as Henri Matisse, Pablo Picasso, and Amedeo Modigliani, all personally close to Foujita. His originality resided in a graphic technique previously unseen in the Western tradition of oil painting. The precise and delicate outlines of the present figure echo the traditional Japanese sumi-e style. The ink was applied by Foujita using a menso, the thinnest brush in traditional Japanese painting. This fine black line defines the border between the woman's opalescent skin and the pearly background, obtained using a technique Foujita called nyuhakushoku (chalk white, or literally 'milky whiteness'), typical of Japanese lacquerware designs. The mesmerising quality of this iridescent and smooth fond blanc (the exact composition of which he never disclosed), made his late 1920s and early 1930s works to be his most sought-after. Beyond pure technical concerns, the serenity of Foujita's calligraphic line marks an innovative aesthetic language, where the almost monochromatic nude emits an aura of purity and silence. Within this stillness, the model's body seems to pulsate, acting on the viewer's sense of touch. The artist's outstanding draughtsmanship and colourism are evident in the intricately detailed depiction of the model's wavy hair, casting a golden halo around her face. The vibrant muscular quality of her body, in conjunction with the marble-like surface, evokes that same sculptural conception of painting famously defining the oeuvre of Michelangelo (1475-1564), one of the Renaissance masters that Foujita idolised. His fascination with the classical nude can be traced back to his years as a copyist at the Musée du Louvre. One cannot help but notice the resemblance of Foujita's Nu assis to Rembrandt's Bathsheba at her bath (1654), which still hangs within the Louvre, having also inspired artists such as Pablo Picasso, Edgar Degas and Paul Cézanne. The present model's relaxed pose, with her nude torso twisting suggestively toward the viewer as she rests upon her left hand, her thighs outstretched across sensuous white drapery, appear to evoke a direct reference to Rembrandt's Bathsheba. Like her predecessor, Foujita's sitter's face is gently framed with copper-coloured hair, as her surroundings suspend her in an almost dreamlike atmosphere, like a sacred apparition. In this, Foujita achieves a deep assimilation of the finest tradition of Western painting by accomplishing a renewed conception of the nude suffused with melancholy and complexity of thought.Such introspective depiction of the female body also stems from Foujita's profound connections with women, testified to by his lifelong dedication to immortalising them in his art. Experiencing the loss of his mother at just five years old, he received close care and attention from his sister, her friends, and the family's female servants, towards whom he developed a deep personal affinity. Over the course of his life, all five of his wives would pose nude for his paintings. These devoted female models were able to infuse his work with a renewed vitality: 'I use models not only to produce my works but above all the way that food nourishes the body. Also like food, I have tried to absorb as much nutritious substance from them as possible' (Foujita quoted in S. Buisson, Foujita, Inédits, Paris, 2007, p. 127). While most of these pieces are cropped below the breasts, navel, or pubic area, the present work stands out due to its more extensive portrayal of the body, marking it a sublime and daring example of the celebrated 'milky white' nude series.Nu assis was acquired by Foujita's dealer, Colette Weil, directly from the artist and it has remained in the same family collection for almost a century, coming now to the market for the first time. It is a portrait of timeless modernity, where the forms of European Art are encased in a faithfully Japanese outline - a masterful example of the artist's unique capability of transcending the dichotomy between western canon and oriental aesthetics.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
PABLO PICASSO (1881-1973)La Guerre et la Paix (Colombe et hibou) signed and dated 'Picasso le 2.10.59.' (lower left)coloured crayon on paper35.4 x 26cm (13 15/16 x 10 1/4in).Executed on 2 October 1959Footnotes:The authenticity of this work has been confirmed by the Comité Picasso.ProvenanceAnon. sale, Sotheby's, London, 26 June 1985, lot 434.Private collection, UK.Private collection, UK (by descent from the above).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
PABLO PICASSO (1881-1973)Colombe signed 'Picasso' (upper right)pencil on paper13.4 x 13.1cm (5 1/4 x 5 3/16in).Footnotes:The authenticity of this work was confirmed by the late Claude Picasso.ProvenanceAnon. sale, Rouillac, Cheverny, 6 June 2004, lot 57.Anon. sale, Jakobovicz & Associés, Melun, 16 June 2012, lot 188.Nicholas Gallery, Belfast.Private collection, UK (acquired from the above circa 2015).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
PABLO PICASSO (1881-1973)Tête de faune dated '14.3.61.' (upper right); dated '14.3.61.' (on the reverse)hand-painted terracotta tile15 x 15cm (5 7/8 x 5 7/8in).Executed on 14 March 1961; this work is uniqueFootnotes:The authenticity of this work was confirmed by the late Claude Picasso.ProvenanceNicholas Gallery, Belfast.Private collection, UK (acquired from the above circa 2015).ExhibitedBelfast, Nicholas Gallery, Exhibition of Pablo Picasso Ceramics, 14 February – 7 March 2015.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
PABLO PICASSO (1881-1973) Personnages signed and dated 'Picasso 15.3.67. III 9.4.67. 11.4.67. 14.4.67.' (lower right) pen, brush and India ink and wash on paper 38.5 x 49.7cm (15 3/16 x 19 9/16in). Executed in Mougins between 15 March and 14 April 1967 For further information on this lot please visit Bonhams.com
λ HERMENEGILDO ANGLADA CAMARASA (SPANISH 1871-1959) SOLA EN EL PALCO - 'ALONE IN THE BOX' Oil on panel Signed 'H. Anglada Camarasa' (lower right) 32 x 34cm (12½ x 13¼ in.) Painted in 1911- circa 1952. Provenance: Mir Amorós, Barcelona (by 1981) with Galeria Manel Mayoral, Barcelona where purchased by the present owner in 1997 Literature: F. Fontbona and F. Miralles, Anglada-Camarasa, Barcelona, 1981, p. 298, no. G12 as Proyecto para un retrato Exhibitions: Barcelona, La Pinoteca, H. Anglada Camarasa, June 1952, as Proyecto para un retratoAfter training in Barcelona, the Catalan painter Hermenegildo Anglada-Camarasa, moved to Paris in 1894 where he attended the Académie Julian. He painted numerous pictures of Parisian night-life, concentrating on pallet and light effects. His paintings were visibly influenced by Toulouse Lautrec, Gustav Klimt and Kees van Dongen. A significant turning point in his style came in 1909, with the arrival in Paris of impresario Sergei Diaghilev's Ballets Russes, featuring Vaslav Nijinski and Anna Pavlova. They became a social and artistic sensation that revolutionised both tastes and customs. Camarasa was deeply moved by the sets and costumes of vibrant oranges, purples and greens, to the extent that from then on the pale shades in his female portraits were replaced by brilliant multicolours. His influence also reached young artists like Pablo Picasso, ten years younger than him and with whom he was in contact during his stay in Montmartre, or María Blanchard, who was his student between 1908 and 1913.The present lot is accompanied by a certificate from F. Fontbona and F. Miralles dated 24 February 1998, no. 403. Condition Report: Some light craquelure throughout however the paint surface appears stable. Rubbing and abrasions to the framing edges with some associated paint loss and subsequent retouching along the upper edge (this is visible in a natural light). One or two superficial surface scratches and spots of surface dirt throughout. There is a black line running diagonally above the sitter's right shoulder however this appears to be original to the work rather than a condition issue. Inspection under UV light reveals some patches of retouching throughout; these are largely contained to the sitter's nose, right arm, and along the upper framing edge. Condition Report Disclaimer
Küppers, P. E. (Vorwort). Französische Malerei bis 1914 und Deutsche Künstler des Café du Dôme. Gemälde - Graphik. 20 Bl. Mit mehreren blattgr. Abbildungen. 20 x 14,5 cm. Illustr. OBroschur (etwas gebräunt und leicht fleckig). Hannover, Kestner-Gesellschaft, (1919). Katalog der XXVII.-XXVIII. Sonderausstellung im vierten Quartal 1919 der Kestner-Gesellschaft. Gezeigt wurden u. a. Werke von Gauguin, van Gogh, Monet, Braque, Bonnard, Cézanne, Delaunay, Dérain, van Dongen, Dufy, Ensor, Laurencin, Léger, Manet, Matisse, Rousseau, Pissaro, Signac, de Vlaminck, Vuillard - außerdem 18 Werke von Pablo Picasso. - Gut erhalten.
Picasso, Pablo, und André Villers. 3 Le corrigan du littoral aus "Diurnes. Découpages et Photographies". Lichtdruck mit rotem und blauem Fettstift und mit Signatur in der Platte. 39,5 x 30 cm. Um 1962.Der Lichtdruck stammt der Mappe "Diurnes. Découpages et Photographies", die Text und 30 Werke beinhaltete. Pablo Picasso (1881-1973) und André Villers (1930-2016) lernten sich im Sanatorium in Vallauris kennen und begannen ihre fotoexperimentelle Zusammenarbeit. - Leicht berieben und Kanten etwas bestoßen. Dekorativ.
Picasso, Pablo. Exposition Vallauris-57. Linolschnitt in Rostbraun auf festem Velin, links unten mit Auflagenbezeichnung, rechts vom Künstler in rotem Farbstift signiert. 63 x 53 cm (Darstellung), 80 x 61 cm. 1957.Bloch, 1277. Czwiklitzer, 24. - Eines von 175 nummerierten Exemplaren. Der Linolschnitt zeigt Motive aus einer Keramikwerkstatt. Die südfranzösische Gemeinde Vallauris, berühmt für ihre jahrhunderte alte Keramiktradition, wurde in den 1950er Jahren durch Picassos Aufenthalt künstlerisch nachhaltig bereichert und geprägt. - Sehr winzige Knickspur rechts am Rand, verso Montierungsreste, insgesamt in sehr guter Erhaltung.
Picasso, Pablo (nach). La dame à la collerette. Farblithographie von Henri Deschamps auf Arches nach einem Linolschnitt Picassos von 1963 (Ausstellungsplakat der Borstahusens Konstförening). 65,5 x 60 cm. 1973. Vgl. Bloch 1147. Czwiklitzer 448. - Eines von 200 Exemplaren (Gesamtauflage). - Einwandfrei.
Y After Georges Braque (French, 1882-1963)Derniers Messages, 1963 or 1967Lithograph on in 6 colours on Arches watermarked paperMounted, framed & glazed With Innocent Fine Art, Bristol label to back Georges Braque (French, 1882-1963) was a major 20th-century French painter, collagist, draughtsman, printmaker and sculptor. His most notable contributions were in his alliance with Fauvism from 1905, and the role he played in the development of Cubism. Braque's work between 1908 and 1912 is closely associated with that of his colleague Pablo Picasso. Their respective Cubist works were indistinguishable for many years, yet the quiet nature of Braque was partially eclipsed by the fame and notoriety of Picasso.Measures approx. 61cm x 45cm (24" x 17.5")
Y After Pablo Picasso (1881-1973)Woman in Hat, c.1980sLithograph on Arches paperNumber 22/500Signed & number in pencil by Marina PicassoAfter Pablo Picasso's death in 1973, his granddaughter Marina authorized the printing of these original lithographs, which have come to be known as the Picasso Estate Collection. The lithographs were meticulously created after the original works (Oil Paintings, Watercolors, Pastels, Charcoal Drawings, etc.) by Master Chromist Marcel Salinas, who worked closely with Picasso in his lifetime. They are printed in an edition of 500 on first-quality Arches paper. To ensure authenticity, each print is signed and numbered in pencil by Marina Picasso and embossed with the estate and chromist's seals, along with the legend on the reverse 'Approved by the heirs of Pablo Picasso'.Measures approx. 37 x 28cm (14.5" x 11").
Artist: Pablo Picasso & Alain Ramie (20th Century). Title: "Picasso: Catalogue of the Edited Ceramic Works, 1947-1971 [Alain Ramie, author]". Medium: Book (catalogue raisonne). Date: Composed 1988. Dimensions: Overall size: 11 3/4 x 9 3/4 in. (298 x 248 mm).Pricing: Starting Price: $800 Reserve Price: N.A. Auction Sale Price Estimate: $1,200/1,500Lot Note(s): Published by Galerie Madoura, Madoura, France. Original English edition. Hardcover in tan cloth boards with white lettering with red pictorial dust jacket. Contains 320 pages with 570 color plates and 75 b&w illustrations. Includes Bibliography and list of Ceramic Exhibitions. Very good+ condition; a solid, tight, clean copy without any previous owner stamps, signatures, dedications, etc.; not ex-library; not a working copy; lower right front corner bumped; slight tanning to the page edges; in a very good+ dust jacket showing creasing where bumped and two horizontal lower center verso creases. The jacket is notoriously color-fragile with the jacket spine often found highly faded, our copy without a hint of fading. Overall a highly desirable copy of the scarce hardcover first edition. Comment(s): The first edition hardcover by Madoura has become very scarce, with a corresponding rise in the price. The most recent auction record we could find is a sale for $6,250 at Christie's New York, Noverber 15, 2022, with the dust jacket exhibiting a highly sunned spine. Edition copyright © Galerie Madoura. [30445-19-800-NA]
Artist: Pablo Picasso (Spanish, 1881 - 1973). Title: "Portrait du père et du fils". Medium: Color pencil drawing on paper. Date: Composed 1972. Dimensions: Overall size: 8 x 5 in. (203 x 127 mm).Pricing: Starting Price: 1,000 Reserve Price: No reserve Auction Sale Price Estimate: $18,000/25,000Lot Note(s): Signed in pencil, upper left; dated in pencil, lower right. Drawn on cream wove paper. Very good to fine condition. Provenance: The work comes from the collection of Urbano Quinto and was acquired directly from Picasso at his studio in Cannes, France, in 1972. A noted Italian art historian, art dealer, and art collector, Urbano Quinto acquired works from classical artists of the 20th Century as well as Jean-Michel Basquiat, Keith Haring, Andy Warhol, and other Pop and Graffiti artists, often directly from the artists themselves during the 1950’s through the 1980’s. The original Letter of Authenticity by Urbano Quinto pertaining to this work accompanies the lot. Comment(s): The complete title of the work, in English, is “Portrait of Urbano Quinto and Mauro Urbano with the gaze united in unison towards the same future to represent the Roman numeral “Five” that alludes to the name Quinto.” Please see the attached image of Urbano Quinto with Halston, Andy Warhol, and Bianca Jagger at Studio 54, New York City, c1977 (courtesy of and copyright © by Hasse Persson). Picasso image copyright © Artists Rights Society (ARS), New York. [30557-2-2000-NR]
Artist: Various Artists (American/European, 20th Century). Title: "San Lazzaro et ses amis [15 original lithographs by Calder, Magritte, Picasso et al]". Medium: Original color lithographs. Date: Composed 20th Century. Dimensions: Overall size: 10 1/4 x 14 in. (260 x 356 mm).Pricing: Starting Price: $2,400 Reserve Price: N.A. Auction Sale Price Estimate: $3,500/4,000Lot Note(s): Number 389 of 575. Lithographs printed on light cream high quality Velin d' Arches paper. Full margins. Fine impressions. Printed by Fernand Mourlot. The prints are in fine condition, the clamshell box in very good to fine. Comment(s): With 15 lithographs by Max BILL, Georges BRAQUE, Alexander CALDER, Marc CHAGALL, Max ERNST, Lucio FONTANA, Hans HARTUNG, Alberto MAGNELLI, Rene MAGRITTE, Joan MIRO, Henry MOORE, Pablo PICASSO, Serge POLIAKOFF, Graham SUTHERLAND, and Zao WOU-KI. Published by XXe Siecle, Paris, 1975, as a tribute to Gualtieri di San Lazzaro, the founder of the publication XXe Siecle. In original wrappers and cloth clamshell box with the portrait of San Lazzaro mounted on the inside. Text by Gualtieri di San Lazzaro, Pierre Volboudt, Nina Kandinsky, Marc Chagall, Andre Verdet, Marino Marini et al. [30644-18-2400-NA]
Artist: Pierre-Auguste Renoir (French, 1841 - 1919). Title: "Un paysage volcanique". Medium: Pencil drawing on paper. Date: Composed n.d. Dimensions: Overall size: 9 1/16 x 11 5/8 in. (230 x 295 mm).Pricing: Starting Price: $3,000 Reserve Price: No reserve Auction Sale Price Estimate: $8,000/12,000Lot Note(s): Hand-signed in pencil, lower right. Drawn on cream wove medium weight paper. Very good to fine condition. Provenance: The work comes from the collection of Urbano Quinto and was acquired by him directly from Pablo Picasso at a meeting in 1953 at the Café de l'Hotel Negresco, Nice, France. A noted ltalian art historian, art dealer, and art collector, Urbano Quinto acquired works from classical artists of the 20th Century as well as Jean-Michel Basquiat, Keith Haring, Andy Warhol, and other Pop and Graffiti artists, often directly from the artists themselves during the 1950’s through the 1980’s. The original Letter of Authenticity by Urbano Quinto pertaining to this work accompanies the lot. Comment(s): Please see the attached image of Urbano Quinto with Halston, Andy Warhol, and Bianca Jagger at Studio 54, New York City, c1977 (courtesy of and copyright © by Hasse Persson). [30641-2-3000-NR]
Artist: Jean-Michel Basquiat (American, 1960-1988). Title: "Graft". Medium: Crayon, marker, pen, and pencil drawing on paper. Date: Composed 1984. Dimensions: Overall size: 12 x 9 3/16 in. (305 x 233 mm).Pricing: Starting Price: $5,000 Reserve Price: No reserve Auction Sale Price Estimate: $30,000/40,000Lot Note(s): Signed and dated in black marker, lower right. Drawn on light cream wove paper. Very good condition; several very minor tears, one very slightly into the image, right edge; some very minor fading, upper edge; else fine, and presents very well. Provenance: The work comes from the collection of Urbano Quinto (Rhodes, Greece, 1933 – Novara, Italy, 1997) and was acquired directly from Jean-Michel Basquiat in 1984 during a meeting at Basquiat's studio located at 57 Great Jones Street, New York City. The noted Italian author, art dealer, and art collector Urbano Quinto met Jean-Michel Basquiat in 1984 at the Andy Warhol ‘Factory’ at 33 Union Square West in New York City. Quinto acquired drawings from Pablo Picasso, Jean-Michel Basquiat, Keith Haring, and Andy Warhol, as well as other notable artists, directly from them beginning in the 1950's and continuing through the 1980's. A copy of the Letter of Authenticity by Mauro Urbano pertaining to this work accompanies the lot. Comment(s): Please see the attached image of Urbano Quinto with Halston, Andy Warhol, and Bianca Jagger at Studio 54, New York City, c1977 (courtesy of and copyright © by Hasse Persson). Basquiat image copyright © The Estate of Jean-Michel Basquiat/ADAGP, Paris; ARS, New York. [30268-2-5000-NR]
Artist: Keith Haring (American, 1958 - 1990). Title: "Angry Robot". Medium: Black marker drawing on paper. Date: Composed 1983. Dimensions: Overall size: 20 x 24 13/16 in. (508 x 630 mm).Pricing: Starting Price: $5,000 Reserve Price: No reserve Auction Sale Price Estimate: $25,000/30,000Lot Note(s): Signed and dated, upper right. Drawn on cream wove paper. Good condition; the work has several issues which conservation, if desired, should successfully resolve: the lower right corner is lacking, apparently with no loss to the image; the center left edge of the sheet bears discoloration and a small paper loss; the upper center edge has one small area of paper loss; a hard crease near the lower right corner, within the image but not affecting a drawn area; scattered mild foxing overall. Provenance: The work comes from the collection of Urbano Quinto (Rhodes, Greece, 1933 – Novara, Italy, 1997) and was acquired directly from Keith Haring in 1983 during the mid-October to mid-November 1983 exhibition of Haring's work at the Robert Fraser Gallery, London. The noted Italian author, art dealer, and art collector Urbano Quinto met Haring in the early 1980s at the Andy Warhol Factory at 33 Union Square West in New York City. Quinto acquired drawings from Pablo Picasso, Jean-Michel Basquiat, Keith Haring, and Andy Warhol, as well as other notable artists, directly from them beginning in the 1950's and continuing through the 1980's. A copy of the Letter of Authenticity (‘COA’) by Mauro Urbano pertaining to this work accompanies the lot. Comment(s): This exceptional and large drawing is the precursor to Haring’s finished drawing that was used as the image for the Robert Fraser Gallery’s exhibition’s poster of 1983, provided here as image #3. Also please see the attached image of Urbano Quinto with Halston, Andy Warhol, and Bianca Jagger at Studio 54, New York City, c1977 (courtesy of and copyright © by Hasse Persson). Haring image copyright © The Keith Haring Foundation. [30270-5-5000-NR]
![Artist: Pablo Picasso [d'après] (Spanish, 1881 - 1973). Title: "May 16, 1964 #04 [from the suite 'Le Gout du Bonheur,' image](https://cdn.globalauctionplatform.com/e3cc1cb0-c2c1-4fdf-959e-b1b80151a729/9aa29483-27c1-4f99-aee6-b1e9010fd139/468x382.jpg)
Artist: Pablo Picasso [d'après] (Spanish, 1881 - 1973). Title: "May 16, 1964 #04 [from the suite 'Le Gout du Bonheur,' image dated 16-5-64 IV, untitled as issued]". Medium: Original color silkscreen & lithograph. Date: Composed 1964. Printed 1970. Dimensions: Overall size: 12 7/8 x 9 11/16 in. (327 x 246 mm).Pricing: Starting Price: $1,600 Reserve Price: N.A. Auction Sale Price Estimate: $2,500/3,000Lot Note(s): Signed in pencil, lower right; annotated in pencil (presumably in the artist's hand) lower left; dated in the plate, lower right. An artist’s proof (E.A. - epreuve d’artiste) aside from the edition of 666. Cream wove handmade watermarked rag Velin d' Arches paper, deckle edges three sides. Full margins, as issued. Fine impression. Fine, fresh condition, as issued, with rich, vibrant colors. Literature/catalogue raisonne: Goeppert/Cramer (GC/CR/CBK/CB/C) 148; Bloch (BB) 150. Provenance: the Estate of Guenther Dietz (German, 1919-1995), who printed the edition. Comment(s): Although this work is often catalogued as a lithograph, or silkscreen, or pochoir, or photo-lithograph, in reality it is none of these. By 1964 Guenther Dietz, the printer, had created a unique fine printing system which involved the use of both lithographic plates and serigraphic screens. He and master printers from his company (Guenther Dietz Offizin Handpresse GmbH, Munich & Lengmoos, Germany) printed this work under the direct supervision and participation of Picasso himself. Dietz used grease crayon, lithographic tusche, lead pencil, and charcoal, among others, to create the matrixes and receive Picasso’s approval to print the edition (Cramer, ‘Livres’ 148). The plates and screens were destroyed after printing. Published by Harry N. Abrams, Inc., New York. Image copyright © Artists Rights Society (ARS), New York. [30021-2-1600-NA]
Christopher Wood (1901-1930) "Footbridge on the Seine" Signed and dated 1924, pen and ink, 19.5cm by 30cm Provenance: The Redfern Gallery, London, Purchaser R. Gathorne-Hardy Esq., January 1945 The Estate of Mrs Markova Noel Loaned to Sheffield Museums Trust Christopher Wood (1901-1903), in his short life, became held in high regard amongst artistic circles in both London and Paris, being now remembered as a youthful genius.Born near Liverpool, he began drawing whilst recovering from septicaemia aged 14. After studying architecture and medicine for just a year at university, he moved to London in 1920. Here he met an art collector, who invited him to Paris, where he studied drawing a the Académie Julien.He was drawn effortlessly into fashionable artistic circles, where he met Augustus John and the diplomat Antonio de Gandarillas, whom he moved in with and was supported by. Gandarillas also introduced him to the likes of Pablo Picasso, Jean Cocteau and George Auric, along with opium. Following the last-minute cancellation of a commission for designs for the Ballets Russe, Wood moved back to London, becoming first a member of the exhibiting collectives the London Group, and then the Seven and Five Society.Formatively, he exhibited with Ben and Winifred Nicholson in 1927, with whom he would become close friends. Wood accompanied the Nicholsons on painting trips to Cumberland and Cornwall, and in St. Ives discovered Alfred Wallis, whose ‘primitive’ expressionism helped him develop his own style.In 1929 he was given a solo show at Arthur Tooth & Sons, and a rather less successful joint exhibition with Ben Nicholson in Paris. Having had a painting expedition to Brittany, the resulting paintings were due to be exhibited at Wertheim Gallery in London. However, Wood was struck by a train whilst travelling back from meeting his mother, thought to be suicide brought on by psychosis, despite being reported as an accident at the time. Posthumously, his work was widely exhibited. The piece is on buff paper. Slight cockling to the paper. There are black lines to the outer edges in places. Slight time staining to the paper and the odd minor sporadic foxing spot in places, for example to the right corner of the top edge, to the knee of the figure left corner. Not examined out of the frame. (see images).
Henry Moore OM, CH, RBA, RBS (1898-1986) “Head” (1957/58) Signed, black crayon, 39cm by 30cmProvenance: Given to Mervyn Levy by the artist following the publication of his book "Drawing and Sculpture" in 1970 according to inscription verso Clark Art, CheshireHenry Moore is perhaps the most celebrated sculptor of the 20th century, and his monumental semi-abstract sculptures had a profound effect on the course of British Art. Achieving global recognition in his lifetime, Moore’s distinctive brand of modernism caused a British sculptural Renaissance.Moore was born in Castleford, a small mining town in West Yorkshire, in 1898. After initially training as a teacher, he served in the Army during the First World War. However, after being injured he was awarded a rehabilitation grant that afforded him the opportunity to study at Leeds School of Art before going on to the Royal College of Art in London.Whilst studying in London Moore became absorbed with so called ‘Primitive Art’ in the British Museum. Shying away from the Classical ideal, which was all-pervasive in Western Art, he instead drew inspiration from the imagery of the ancient world, and from African and Oceanic cultures which idolised the female/maternal figure.Moore began sculpting simple, powerful forms redolent of ancient objects, with a distinct focus on female figures and family groups. Close study of the natural world led Moore to create his abstracted figures, at once both alien and familiar, using organic shapes taken from a line of hills, a massive rock formation, or a sea-smoothed pebble on a beach. The abstraction of organic forms developed in parallel in the work of Barbara Hepworth, whom Moore had known since their days at Leeds School of Art.Having come under the influence of Pablo Picasso and Georges Braque in the 1930s, his work had taken on a darker edge with a greater degree of abstraction and more distorted forms. This was exacerbated by the outbreak of the Second World War, during which Moore became an official war artist and moved away from his characteristic female and maternal images as his primary focus. Moore created a powerful series of drawings of huddled figures in underground shelters, before returning to his hometown of Castleford to visit the colliery in which his father had worked to depict miners toiling at the coal face. These works were filled with a pathos and pain, which he later expressed in austere pieces such as his Helmet series. After WWII, Moore became very focussed on Helmet Head and Heads. During the 1950's he explored many varations on this subject (see lot 573). Slight time staining to the paper, especially to the outer edges. Slight cockling to the paper and handling creases to the outer edges. Brown thumb mark left of bottom edge by design? Possible pen mark diagonal from the left edge down to the right to the left of the head approximately 5cm. Small brown marks under the signature and below centre of right edge. The odd very tiny sporadic foxing spot in evidence. Some light surface dirt and debris trapped under the glass. Not examined out of the frame.
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