Gr. runde Platte "Scène de tauromachie",Picasso/ Madoura 1959. Expl. 31/ 100. Entw.: Pablo Picasso, Ausführung Manufaktur Madoura, Frankreich. Heller Scher- ben, matt rotbraun sowie schwarz u. weiß glasiert m. grünen Details, verso weiß glasiert. Gr. rd. Spiegel m. linear erfasster Relief-Szene eines Stierkampfes, d. leicht schräge Fahne m. erhabenem Strichdekor u. Dat. "11.6. 59." (spiegelverkehrt). Am Boden Pressmarken "Em- preinte Original de Picasso" u. "Madoura Plein Feu" sowie handschriftl. schwarz nr. "31/100". Relief m. 1 minim. Chip am Bauch d. Stiers/ kl. Glasurchips (prod.bedingt), rote Glasur am Rand leicht ber/ abgeplatzt. D 42,6 cm Wkvz.: Bloch Nr. 123.100, 11.6.59, Empreinte Original de Picasso, Frankreich, Keramik, Madoura Plein Feu, Pferde, Relief, Stier, Stierkampf, Torero, Vallauris
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Gr. runde Platte "Picador et taureau",Picasso/ Madoura 1959. Expl. 36/ 100. Entw.: Pablo Picasso, Ausführung Manufaktur Madoura, Frankreich. Heller Scher- ben, matt schwarz u. rotbraun bemalt u. weiß m. grünen Details glasiert, verso weiß glasiert. Leicht gewölbte Form m. gr. stilis. Relief-Szene eines Stierkampfes, d. Tuch am Boden liegend, gerahmt v. gestrichelter Relief-Linie. Am Boden Pressmarken "Empreinte Original de Picasso" u. "Madoura Plein Feu" sowie handschriftl. schwarz nr. "36/100". Rand m. wenigen, minim. Chips, Standring m. 1 kl. Chip. D 42,5 cm Wkvz.: Bloch Nr. 131.100, Empreinte Original de Picasso, Frankreich, Keramik, Madoura Plein Feu, Pferde, Reiter, Relief, Stier, Stierkampf, Torero, Vallauris
After Pablo Picasso (Spanish, 1881-1973). Pochoir print on paper titled "Head of Faune" depicting an abstract portrait of a faun, a mythological creature that is half goat and half man. The faun is a motif commonly used in Picasso's works, sometimes representing the artist himself. Signed in plate along the upper left. Inscribed in pencil "UHE+" along the lower left, "Picasso, Buste de Faune" along the lower center, and "19608" along the lower right.Height: 19 1/2 in x width: 15 3/4 in.
Pair of Pablo Picasso exhibition posters. One for the Picasso at Pace/Columbus show that ran from February 3rd through March 5th, 1972. The other for the exhibition "Picasso from the future Musee Picasso, Paris" at the Walker Art Center in Minneapolis that ran from February 10 through March 30, 1980. Each featuring artwork by Picasso.Picasso at Walker: Sight; height: 37 1/2 in x width: 17 1/2 in. Framed; height: 39 in x width: 19 in. Picasso at Pace/Columbus: Sight; height: 24 3/4 in x width: 26 3/4 in Framed; height: 25 1/2 in x width 27 1/2 in.
δ Pablo Picasso (1881-1973) after.Le Ronde de la JeunesseLithograph printed in colours, 1959, signed in pencil, aside from the edition of 200, on Arches paper, the full sheet, sheet 655 x 500mm (25 ¾ x 19 3/4 in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Pablo Picasso (1881-1973) after.Tête d'Homme (Hommage à René Char) (Czwiklitzer 348)Lithograph printed in colours, 1969, signed in pencil, a printer's proof aside from the edition of 100, printed by Mourlot, Paris, with the Atelier Mourlot rubber stamp verso, on wove paper, with full margins, sheet 760 x 525mm (30 x 20 5/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Pablo Picasso (1881-1973)Le Singe (Baer 586 II A/C; Bloch 339)Etching with aquatint, 1936, a rare proof with the title inked before the steel facing and the bevelling of the plate, signed in red crayon, Baer cites 8 impressions in this state, as included in Buffon: Histoire Naturelle, on Montval laid paper, with full margins, sheet 442 x 330mm (17 3/8 x 13 in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Pablo Picasso (1881-1973)Le Taureau (Baer 377 II B/a; Bloch 330)Etching with aquatint, 1936, with the title inked, signed in red crayon, Baer cites the edition as 47 impressions in this state, as included in Buffon: Histoire Naturelle, on Montval laid paper, with full margins, sheet 442 x 330mm (17 3/8 x 13 in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Pablo Picasso (1881-1973)Le Couvent, from Saint Matorel (Bloch 22, Baer 26, see Cramer books 2)Etching, 1910, from the edition of 87, published by Kahnweiler, Paris, on Van Gelder laid paper, the full sheet, sheet 263 x 223mm (10 3/8 x 8 3/4in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Pablo Picasso (1881-1973)Le Peintre et son Modèle (Bloch 765)Lithograph printed in colours, 1954, signed and numbered from the edition of 50, on Arches paper, with full margins, sheet 565 x 760mm (22 ¼ x 30in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Pablo Picasso (1881-1973)Colombe (à L'Arc de Ciel) (Bloch 712, Mourlot 214)Lithograph printed in colours, 1952, signed in pencil, numbered from the edition of 200, printed by Mourlot, Paris, on Arches paper, with full margins, sheet 545 x 762mm (21 1/2 x 30in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Pablo Picasso (1881-1973)Troupe d'Acteurs (Bloch 754) Lithograph, 1954, signed and numbered from the edition of 50 in black ink, on Arches paper, the full sheet, sheet 502 x 658mm (19 3/4 x 25 7/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Pablo Picasso (1881-1973)A Los Toros avec Picasso, by Jaime Sabartés (Bloch 1014-47; Cramer 113)The book, comprising 4 lithographs, one printed in colours, 1961, on wove paper and 109 reproduction lithographs on smooth paper, from an edition of an unknown size, with title page, colophon and text in German, published/printed by André Sauret, Monte-Carlo/Mourlot, Paris, with full margins, bound (as issued), overall 335 x 260mm (13 1/8 x 10 1/4in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Pablo Picasso (1881-1973) after.Portrait d'une Fille (Maya)Lithograph printed in colours, circa 1958, signed and numbered from the edition of 200 in pencil, on Arches paper, with full margins, sheet 860 x 610mm (33 7/8 x 24in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Pablo Picasso (1881-1973) after.Untitled, from Les Portraits ImaginairesLithograph printed in colours, 1969, a proof aside from the edition of 250, on Arches paper, the full sheet printed to the edges, sheet 650 x 500mm (25 5/8 x 19 ¾ in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Pablo Picasso (1881-1973) after.Poster for the Guggenheim New York (see Czwiklitzer 141)Lithograph printed in colours, 1958, a proof before text, signed in blue crayon, the edition was 200, printed at Mourlot, Paris, on Arches paper, with full margins, sheet 687 x 550mm (27 x 21 5/8 in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
EUGENIO D'ORS: PABLO PICASSO, trans Warre B Wells, Paris, Editions des Chroniques du Jour, London, A Zwemmer, 1930, (1500) (650), 1st edition, numbered (1246), 4 coloured plates, 48 black and white plates as list, 8 full page black and white illustrations and numerous text ills, 4to, original pictorial wraps, glassine d/w, original cloth backed chemise ribbon ties, vgc. Note: bears pencil signature? of Picasso dated "30" on limitation leaf and due to conflicting opinions re authenticity, sold as is, + DAVID DOUGLAS DUNCAN: THE PRIVATE WORLD OF PABLO PICASSO, New York, The Ridge Press, 1958, inscription on title page, 4to, original pictorial wraps worn (2)
λ Fred Uhlman (British 1901-1985)Le Chateau de Grand MeaulnesOil on board 54 x 66cm (21¼ x 25 in.)Provenance:The Zwemmer Gallery, London The collection of Eardley Knollys (1902-1991), friend and associate of the Bloomsbury Group, artist, critic and owner of the Storran Gallery, London, from 1936 to 1944Bequeathed to Mattei Radev (1927-2009) and, subsequently, to the present ownerEardley Knollys (1902-1991) was born in Alresford, Hampshire. He studied at Winchester College and continued his education at Christ Church College in Oxford. Knollys interest in the arts and his reputation as an art critic grew during the 1920s and in 1936 Knollys opened The Storran Gallery, opposite Harrods with his partner Frank Coombs. The gallery exhibited renowned artists such as Amedeo Modigliani, Maurice Utrillo, Ivon Hitchens, Pablo Picasso and Victor Pasmore to name just a few. Coombs tragically passed away in an air raid during World War II in Belfast in 1941. Knollys closed the gallery shortly afterwards. In 1945, Knollys along with music critic and novelist Edward Sackville-West and music critic Desmond Shawe-Taylor purchased a Georgian rectory in Long Crichel, Dorset. Along with James Lees-Milne, literary critic Raymond Mortimer and gay activist and eye surgeon Patrick Trevor-Roper, the house became a centre for young creatives, where these young men and their friends could immerse themselves in books, music, art, and poetry. These passionate young men hosted guests such as Ben Nicholson, Duncan Grant, Sibyl Colefax and film director Anthony Asquith. Knollys joined James Lees-Milne working for the National Trust during World War II and published diaries recording their trips to some of the most renowned British country houses. In 1965, Knollys, a well-respected art critic and member of the Bloomsbury art group inherited a collection of artworks which had belonged to Edward Sackville-West. In 1967 Knollys and Mattei Radev purchased a hunting lodge in Hampshire and they both painted and worked in the artist's studio attached to the lodge. Knollys' interest in the arts continued and he added to the collection right up until his death in 1991. Knollys' collection was bequeathed to Mattei Radev, who continued to grow the important collection. Mattei Radev became an iconic member of the artistic and literary Bloomsbury group. Radev was a Bulgarian émigré who settled initially in Glasgow after escaping Bulgaria through Turkey. When he first arrived in London, he started working at Whittington Hospital as an orderly and met eye surgeon Patrick Trevor-Roper. Trevor-Roper was a gay activist and introduced Radev to likeminded friends in London. Influenced by these new acquaintances in artistic circles Radev decided to pursue an apprenticeship in framing. In 1960 he set up his own workshop in Fitzrovia with the help of a financial loan from Eardley Knollys. Clients included John Banting, Graham Sutherland, and Duncan Grant. The framers continued under Radev's management until the 1990s. Radev visited Long Crichel many times and met his life-long lover E.M. Forster, the notable novelist and literary critic. The Radev collection represents the three strong individuals involved, Sackville-West who championed Modernism, Eardley Knollys whose passion for French Impressionism shines through and Radev for his loyalty to British artists with whom he was friends and in business with.Condition Report: Surface dirt throughout. There are some very small scattered losses, the most obvious to the lower right quadrant with associated diagonal scuff marks. Inspection under UV reveals and uneven varnish and light scattered retouching. Condition Report Disclaimer
A Paloma Picasso for Tiffany & Co Graffiti X pendant on chain, London 18ct gold import marks, signed, length 40cm, wt. 2.20g. Condition - good, minor wear only, the item is signed 'Paloma Picasso' but not marked 'Tiffany', however the model is current and still available, see www.tiffany.com
DAVID BOWIE - EUROPEAN 7" COLLECTION (MAINLY PICTURE SLEEVE RELEASES). Superb collection of 34 x European (almost entirely p/s) 7" releases from The Picasso Of Pop. Titles/countries are Space Oddity (Spain, 3-10834), The Laughing Gnome (Germany, DL 25600), Drive In Saturday (Germany, 74-16321), Life On Mars? (Spain 3-10936 and Germany 74-16339), Rebel Rebel (2 x Germany 74-16398, France LPBO 5009 and Spain SPBO 9128), The Jean Genie (2 x Germany, 1 with p/s), Ragazzo SOlo, Ragazza Sola (Italian, jukebox, private, 3 copies), Heroes (including 3 x France with 2 sung in French, 1 sung in English and 3 x German with 1 sung in English, 2 sung in German), Diamond Dogs (DE), Be My Wife (FR), Sound And Vision (FR), Boys Keep Swinging (FR), Beauty And The Beast (FR), Breaking Glass (Dutch, blue), Rock 'N' Roll Suicide (DE), TVC 15 (FR), Golden Years (FR), Knock On Wood (DE), Fame (FR) and Sorrow (DE). Condition is often clean VG+ to Ex+.
Diana Copperwhite Laura in Framing The Light Oil on Card Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Diana Copperwhite (b. 1969, Ireland) lives and works in Dublin and New York. Recent solo exhibitions include Driven by Distraction, Royal Hibernian Academy, Dublin (2016), Depend on the Morning Sun, Thomas Jaeckal Gallery, New York (2016) and A Million and One Things Under the Sun, Kevin Kavanagh, Dublin (2015). Selected group exhibitions include Last Picture Show w/Mary Heilmann, Chris Ofili, Danny Rolph, Vanessa Jackson, Elio Rodriguez, Jill Levine, Rebecca Smith, Thomas Jaeckel Gallery, New York (2017) and Virtú, inc. Picasso, Giacometti, Henry Moore, Elizabeth Magill and Sean Scully at the Hunt Museum, Limerick, Ireland (2017). Copperwhite's work is held in numerous public and private collections including: the Irish Museum of Modern Art, Arts Council of Ireland, Limerick City Gallery of Art, Office of Public Works, Contemporary Irish Art Society, Highlanes Municipal Art Gallery, Mariehamn Stadbiblioteque, Aland (Finland), Dublin Institute of Technology and The President of Ireland. Education 1999-2000 Winchester School of Art and Design, Barcelona, MA European Fine Art 1992-94 National College of Art & Design, BA Hons painting 1987-92 Limerick School of Art & Design, NCEA Diploma Painting Select Exhibitions/Awards Solo Exhibition 2021/22 Upcoming, Limerick City Gallery of Art and touring show 2020 Lock Down Series, works on paper, Kevin Kavanagh Gallery, Dublin 2019 Proto Fiction and the Sleep of Reason, Kevin Kavanagh Gallery, Dublin 2019 The Clock Struck between time, Thomas Jaeckel New York 2017 Crooked Orbit, Kevin Kavanagh Gallery, Dublin 2016 Depend on the morning sun, Thomas Jaeckel gallery, New York Driven by Distraction, RHA gallery Dublin. 2015 A Million and One Things Under the Sun, Kevin Kavanagh, Dublin. 2014 Shadowland, Thomas Jaeckel Gallery, New York. Solo presentation, Pulse, Thomas Jaeckel Gallery, New York 2013 Loose Ends, 532 Gallery Thomas Jaeckel, New York Solo presentation at VOLTANY, Kevin Kavanagh, New York 2011 An Island from the day before, Kevin Kavanagh, Dublin 2009 perfect near miss, Kevin Kavanagh, Dublin eclipse of a title, Highlanes Municipal Art Gallery, Drogheda eclipse of a title, Centre Culturel Irlandais, Paris * 2008 eclipse of a title, West Cork Arts Centre * 2007 BLIND SPOT, Limerick City Art Gallery * Gallery Representation Kevin Kavanagh, Dublin. 532 Gallery Thomas Jaeckel, New York
JOAQUIN SUNYER DE MIRÓ (Sitges, Barcelona, 1874 - 1956)."Landscape".Oil on canvas.Signed in the lower right corner.Measurements: 50 x 61,5 cm.Considered one of the maximum representatives of the noucentista style, Sunyer was the nephew of the painter Joaquim de Miró i Argenter, with whom he started painting. His work is particularly notable for his landscapes and female nudes, as well as his portraits, which are far removed from traditional painting. His compositions are an example of balance, always seeking the evocative power of images, figures and atmospheres. After studying at the La Lonja School in Barcelona, Sunyer began his career as an illustrator of popular scenes in "La Vanguardia" in 1896. That same year he took part in the Fine Arts Exhibition. Shortly afterwards he settled in Paris, where he specialised in street scenes and intimate interiors, which he treated in a style influenced by prostimpressionism. In Paris he became friends with Picasso and Hugué, and exhibited at the Salons. During his Parisian period he worked with real dedication, evolving towards a Post-Impressionist language. Between 1905 and 1906 he travelled around Castile, on the initiative of the art dealer Henri Barbazanges, who wanted Spanish themes. He returned to Paris in 1907 and held several exhibitions in the French capital and Liège. He settled in Sitges in 1910, at a time when his style was gradually losing its post-impressionist influences and moving towards Mediterranean themes and the simplified canon figures of Cézanne. These years saw a major change in his painting, and he became a leading figure in Noucentisme. His new language, based on an essential composition of clear structures and sober, transparent colours, clearly Mediterranean, would create a school within Catalan art. The following year, in 1911, Sunyer organised a personal exhibition at the Faianç Catalá which placed him, after Nonell's death, at the head of Catalan painting at the time. During the following years he travelled and exhibited in Europe, but returned to Catalonia at the outbreak of the First World War. Settled in Sitges, he nevertheless took part in the Paris and Barcelona Salons. After fleeing Spain because of the Civil War, he returned to Spain and settled in Barcelona in 1942. In 1949 he was awarded the Legion of Honour, and subsequently special galleries were dedicated to him at the Hispano-American Art Biennials in Barcelona. At the Havana Biennial in 1954, he was awarded the Grand Prize for a lifetime's work. An anthological exhibition was also held in Madrid in 1974, commemorating the centenary of his birth. Joaquín Sunyer is currently represented at the MACBA, the Bilbao Fine Arts Museum, the Centre Georges Pompidou in Paris and the Reina Sofía National Art Centre in Madrid.
ELISÉE MACLET (Lyons-en-Santerre, 1881 - Paris 1962). "Pont Royal on the Seine River". Oil on cardboard. Signed in the lower right corner. Measures: 47 x 63,5 cm. The Parisian district of Montmartre deeply inspired a young and promising Elisée Maclet, recently landed in the French capital in 1906. Sceneries such as the cabarets of Lapin Agile or the Moulin de la Galette, the Sacré Coeur Basilica, the streets of old Paris or the views of the Seine River were masterfully immortalized by Maclet, through a post-impressionist style of a certain childlike simplicity. Considered a key figure in the development of the style of the painter Maurice Utrillo, a firm representative of the Montmartre life of 1900, Elisée Maclet left an important artistic mark on the Paris of the time. As his success grew in Parisian social circles, his artistic role solidified, to the point that the great Parisian gallery owners hung his works alongside those of Van Gogh and Picasso. Élisée Maclet initially developed a "primitivist" style of painting that would earn him a place among the "naïff" painters of the turn of the century. In 1906, Maclet moved to Paris. There he settled in the Montmartre district and produced most of the landscape and street scenes for which he is best known. Maclet's Parisian scenes were successful, especially after World War I, and he maintained this success for the rest of his career because of the unique sensibility and original techniques he demonstrated in his works. Many of the French writers appreciated his paintings and often wrote about him, including Max Jacob, Sidonie Gabrielle Colette, and Francis Carco. From 1918 to 1919, Maclet painted seascapes in Dieppe, living in a house that Carco lent him. He returned to Montmartre in 1919. In 1920, the art dealer, Dosbourg, bought some of his early Montmartre scenes. He lived in Arles from 1923 to 1928, where he painted many remarkable landscapes expressing his enchantment with nature and Mediterranean culture, some of which are sometimes reminiscent of Matisse. In 1928, Maclet received his first major solo exhibition, held at the Gallerie Barreiro in Paris, where more than 50 of his works were exhibited. At the end of the year, he left mainland France on a painting excursion to the island of Corsica. He then went to Brittany, where he lived and worked in 1929 and 1930. In 1957 the first major retrospective of Maclet's work was held at the Nicolas Poussin Gallery in Paris, and in 1960 the same gallery presented his work in its "20th Century Paintings" exhibition; another major retrospective took place in 1961, at the Thibaut Gallery in New York City. In the period following his international breakthrough, Maclet was the subject of numerous magazine articles and, over time, several public collections in Europe and America acquired examples of his work, including museums in Chicago, Bremen, Geneva, Sweden, Norway and Monte. After his death in 1962, Maclet posthumously received several international tributes, including solo exhibitions in Paris, Germany, and Venezuela, as well as a prominent exhibition at the Vestart Galleries in New York City in 1969. In 2011, the National Gallery of Bermuda mounted a solo exhibition of his work. Currently, his work is represented in a number of important international collections, both public and private, with many of his paintings held by the Musée d'Art Moderne in Paris.
ELISÉE MACLET (Lyons-en-Santerre, 1881 - Paris 1962). "Cabaret de Lapin Agile", Montmartre. Oil on canvas. Signed in the lower left corner. Size: 46 x 55 cm. The Parisian district of Montmartre deeply inspired a young and promising Elisée Maclet, just landed in the French capital in 1906. Sceneries such as the cabarets of Lapin Agile or the Moulin de la Galette, the Sacré Coeur Basilica, the streets of old Paris or the views of the Seine River were masterfully immortalized by Maclet, through a post-impressionist style of a certain childlike simplicity. Considered a key figure in the development of the style of the painter Maurice Utrillo, a firm representative of the Montmartre life of 1900, Elisée Maclet left an important artistic mark on the Paris of the time. As his success grew in Parisian social circles, his artistic role solidified, to the point that the great Parisian gallery owners hung his works alongside those of Van Gogh and Picasso. Élisée Maclet initially developed a "primitivist" style of painting that would earn him a place among the "naïff" painters of the turn of the century. In 1906, Maclet moved to Paris. There he settled in the Montmartre district and produced most of the landscape and street scenes for which he is best known. Maclet's Parisian scenes were successful, especially after World War I, and he maintained this success for the rest of his career because of the unique sensibility and original techniques he demonstrated in his works. Many of the French writers appreciated his paintings and often wrote about him, including Max Jacob, Sidonie Gabrielle Colette, and Francis Carco. From 1918 to 1919, Maclet painted seascapes in Dieppe, living in a house that Carco lent him. He returned to Montmartre in 1919. In 1920, the art dealer, Dosbourg, bought some of his early Montmartre scenes. He lived in Arles from 1923 to 1928, where he painted many remarkable landscapes expressing his enchantment with nature and Mediterranean culture, some of which are sometimes reminiscent of Matisse. In 1928, Maclet received his first major solo exhibition, held at the Gallerie Barreiro in Paris, where more than 50 of his works were exhibited. At the end of the year, he left mainland France on a painting excursion to the island of Corsica. He then went to Brittany, where he lived and worked in 1929 and 1930. In 1957 the first major retrospective of Maclet's work was held at the Nicolas Poussin Gallery in Paris, and in 1960 the same gallery presented his work in its "20th Century Paintings" exhibition; another major retrospective took place in 1961, at the Thibaut Gallery in New York City. In the period following his international breakthrough, Maclet was the subject of numerous magazine articles and, over time, several public collections in Europe and America acquired examples of his work, including museums in Chicago, Bremen, Geneva, Sweden, Norway and Monte. After his death in 1962, Maclet posthumously received several international tributes, including solo exhibitions in Paris, Germany, and Venezuela, as well as a prominent exhibition at the Vestart Galleries in New York City in 1969. In 2011, the National Gallery of Bermuda mounted a solo exhibition of his work. Currently, his work is represented in a number of important international collections, both public and private, with many of his paintings held by the Musée d'Art Moderne in Paris.
PERE PRUNA OCERANS (Barcelona, 1904 - 1977)."Dancers.Oil on canvas.Signed in the lower left corner.Size: 51 x 41 cm; 60 x 50 cm (frame).A mainly self-taught artist, Pere Pruna completed his training at the School of Fine Arts in Barcelona. After beginning to exhibit in Barcelona when he was still very young, he travelled to Paris in 1920, where he was helped and guided by Picasso. In the French capital he held a successful one-man show at the Galerie Percier, and came into contact with intellectuals such as Cocteau, Drieu la Rochelle, Max Jacob and others, with whom he founded the magazine "Philosophie" in 1924. Serge Diaghilev, who visited one of his exhibitions, also asked him to create the sets and costumes for the ballet "Les matelots" in 1925. From then on, he also worked on other musical works, such as "La vie de Polichinele" (1934) and "Oriane" (1938), among others. In 1928 he won second prize in the Carnegie Institute exhibition in Pittsburg and later, on his return to Barcelona, he won other awards such as the "Montserrat seen by Catalan artists" competition (1931) and the Nonell Prize (1936). The latter was surrounded by controversy, because Pruna won it for his oil painting "El vi de Chios", for which he used a photograph published in a Parisian pornographic magazine as a model. In response to the uproar, Pruna withdrew the prize, but the jury upheld its decision. Following the outbreak of the Civil War, Pruna settled in Paris and continued his international exhibition activity, most notably the exhibition organised in London in 1937. At the same time he worked for Ridruejo's propaganda services, with works such as the poster commemorating the promulgation of the Labour Force, and Eugenio d'Ors, National Head of Fine Arts, introduced him to the Spanish representation at the Venice Biennale in 1938. After the war he combined easel painting exhibitions with mural painting, a genre in which his work in the Monastery of Montserrat was particularly celebrated. In 1965 he won the City of Barcelona Prize, and three years later he was appointed academician of the Far de Sant Cristòfor. His style, centred on a graceful, stylised female figure, is based on the clear delicacy of the pink and "neoclassical" Picasso, and reveals a certain parallelism with the Italian Novencento, being fully in keeping with the classicist trend that appeared in Western art after the first wave of avant-gardism and of which his friend Cocteau was the driving force. Pruna focused on portraiture and above all on the female figure, capturing images marked by great delicacy and sober distinction. His representations are characterised by a stylised, diaphanous line, and are in tune with the return to order that followed the rupture that Cubism represented in France, thus linking directly with the avant-garde. Pere Pruna is currently represented in the Museum of Montserrat, where there is a space bearing his name, the MACBA in Barcelona and the Maricel Museum in Sitges, among others.
ANTONIO MUÑOZ DEGRAIN (Valencia, 1840 - Málaga, 1924)."Landscape.Oil on panel.There is a tear in the panel.Signed in the lower right area.Measurements: 17 x 28 cm.Reputed landscape painter and history painter, Antonio Muñoz Degraín began studying architecture in his youth by his father's decision, although he soon abandoned it for painting. A student at the San Carlos Academy of Fine Arts in Valencia from the age of twelve, he was a pupil of the painter Rafael Montesinos, although his training was essentially self-taught. An artist with a vehement and exalted character, traits that would literally translate into his paintings, he took part assiduously in the National Exhibitions of Fine Arts from 1862 to 1915, and it was his successes in these competitions that would have a decisive influence on his artistic career. In 1870 he was asked to decorate the Cervantes Theatre in Malaga and settled in the Andalusian capital for good. He married there and years later was appointed supernumerary professor at the San Telmo Royal Academy of Fine Arts (1879). At the Academy Muñoz Degraín taught a whole generation of artists, including the very young Picasso, who always showed him affection and respect. In 1881 the painter was awarded his first medal, which enabled him to study and visit Rome. Degraín's artistic career continued to grow thanks to the recognition he received throughout his life, including the chair of landscape painting at the San Fernando Academy in Madrid in 1898, the year in which this work of his full maturity is located, in which we can perceive a landscape halfway between reality and invention. It is an indeterminate scene in which greys and browns predominate, as Degraín, unlike the Impressionists, painted in the studio, completing the sketches he took from life. His landscape and historical paintings had been inspired by the landscapes described in literary novels, to which he added a highly personal symbolism and romanticism. Muñoz Degraín also enjoyed notable success abroad, submitting his paintings to the Universal Exhibitions of Philadelphia (1876), Munich (1883) and Chicago (1893). He is currently represented in the Museo del Prado and the Museo de Bellas Artes in Valencia, among others.
ISMAEL DE LA SERNA GONZÁLEZ (Guadix, Granada, 1898 - Paris, 1968)."Still life violin". Watercolour and coloured pencils.Signed in the lower right area.Size: 30 x 41,5 cm; 48 x 54,5 cm (frame).Ismael González de la Serna began his art studies in Granada and concluded them in Madrid, at the San Fernando School of Fine Arts. In his early years he developed an eclectic pictorial style, drawing on impressionist, symbolist and modernist sources. One of the first examples of his youthful language can be found in the illustrations he made for his childhood friend Federico García Lorca, in what was to be his first book, "Impresiones y paisajes" (1918). That same year, Ismael de la Serna held his first exhibition in Granada, and shortly afterwards he presented his works at the Ateneo in Madrid. In 1921 he moved to Paris in order to broaden his artistic horizons, joining the circles of the School of Paris. Among his Parisian friends was Pablo Picasso, who influenced his work but was, above all, the Granada painter's protector. During this period De la Serna's style was permeable to the influences of the avant-garde, particularly Cubism and Expressionism, which he worked in a highly personal manner. Likewise, the initial influence of Impressionism was always evident in his work. The year 1927 marked the beginning of a period of strong influence on his work, which began with the painter's solo exhibition at the influential Paris gallery of Paul Guillaume. This exhibition was followed by many others, both in Paris and in Berlin, Brussels, Copenhagen, Granada and Mexico. In 1928 he was commissioned by the director of "Cahiers d'Art", Christian Zervos, to illustrate a special edition of twenty sonnets by Góngora. The key to his recognition lies in his sensual interpretation of the forms of Cubism, based on the relevance of a drawing with a sinuous and highly decorative line, combined with strong chromatic contrasts. With a marked spatial sense and without ever abandoning figuration, De la Serna mainly depicted still lifes, in which he emphasised the sensory aspect of his painting with metaphorical sensory references such as music, fruit or open windows. He also worked on landscapes and portraits. After inaugurating the activities of the Asociación de Artistas Ibéricos in Madrid with a solo exhibition in 1932, the painter embarked on new avenues of artistic experimentation which, after the Second World War, led to a more schematic and simplified style of painting, close to contemporary abstract solutions. Ismael de la Serna is represented in the Patio Herreriano Museum in Valladolid, the Reina Sofía Museum in Madrid, the Fine Arts Museums of Granada and Seville, the ARTIUM in Vitoria, the Popular Museum of Contemporary Art in Vilafamés and the Museum of Modern Art in Paris, among many others.
RICARDO OPISSO I SALA (Tarragona, 1880 - Barcelona, 1966)."Bar scene".Oil crayon on paper.Signed in the lower right corner.Size: 25 x 20 cm; 48 x 42 cm (frame).Opisso was a painter, draughtsman and cartoonist. In his youth he took part in the modernist environment of Barcelona, and in fact in 1894 he began to work as an apprentice with Antoni Gaudí in the works of the Sagrada Familia. Two years later, backed by the architect, he became a member of the Círculo Artístico de Sant Lluc, with whom he would later exhibit at the Sala Parés. He was linked to the group Els Quatre Gats, together with Ramon Casas, Manuel Hugué, Isidre Nonell and Pablo Picasso, among others. In 1901 he made a trip to Paris, where Picasso and Hugué were already there. He worked as an illustrator in publications such as "Cu-cut!" and "L'Esquella de la Torratxa", signing drawings aimed at political satire, in a style close to art nouveau. In 1907 he took part in the Fine Arts Exhibition in Barcelona and was awarded a third-class medal. Due to the dictatorship of Miguel Primo de Rivera, Opisso abandoned political satire and his drawings moved towards genre themes, specialising in popular scenes. His works from this period are characterised by the presentation of motley crowds of people in popular Barcelona settings. After exhibiting several times in succession at the Sala Parés, he held his first solo exhibition in 1935 at the Syra galleries in Barcelona. During the post-war period he continued to exhibit in various galleries in Barcelona, and reaped considerable success with both critics and the public. In 1953 he received recognition from his home town at the 4th Tarragona Art Fair. Most of his work is kept in the Opisso Museum in Barcelona, but it is also present in the National Art Museum of Catalonia and the Museum of Modern and Contemporary Art in Strasbourg. In terms of exhibitions, the one held at the Thyssen-Bornemisza Museum in 2004 under the title "Catalan Painting, from Naturalism to Noucentisme", in which his work "Carnival" was exhibited, is particularly noteworthy. He has also had anthological exhibitions at the Saló del Tinell (1979), the Palau de la Virreina (1980), the Barcelona International Boat Show (1973), the Fundació La Caixa (1988, 2004, 2008) and the Caixa Tarragona (2003).In the scene proposed by Opisso, the author uses humour and caricature as he often does. With a forced point of view, from the lower, swooping area, Opisso portrays in the foreground a marine's attempt to kiss a beautiful woman. The positions of their bodies create diagonal lines, some of them opposing each other, especially if we look at the couple's legs. While the sailor aggressively approaches the woman, she is cornered at the right edge of the work, being subjected to his kiss. Meanwhile, in the background, the sailor's companions are also enjoying the effervescent atmosphere of the place.
PERE PRUNA OCERANS (Barcelona, 1904 - 1977)."La blanche".1925Oil on canvas.Signed and dated in the lower right corner.Measurements: 116 x 89 cm; 135,5 x 108,5 cm (frame).The aura of Picasso's influence surrounds Pruna's work, and this is particularly evident in this work, which Pruna produced at a time when the most avant-garde European painters were looking back (to the Renaissance or Ancient Greece), reinventing classicism in their own way. Picasso was immersed in his classicist period when Pruna moved to Paris in the 1920s, and a relationship of friendship and mutual admiration began between them. The mark that the Malaga-born artist, in his post-Cubist period, left on Pruna is strongly felt in this painting. Elegance and simplicity are masterfully combined in this composition. The stylised profile of a young woman with her back to us is enhanced by the white scarf covering her black hair. A tight-fitting dress reveals the subtle swirl of her form. Faint silvery shadows define the curve of the buttocks, and these silvery glimpses reverberate on the girl's pearly flesh tones. Only a slight hint of crimson and the carmine of the fine lips interrupt the rich range of greys, which are also shared by the background. The room occupied by the figure is barely hinted at with a few linear strokes.A mainly self-taught painter, Pere Pruna completed his training at the School of Fine Arts in Barcelona. After beginning to exhibit in Barcelona when he was still very young, he travelled to Paris in 1921, where he was helped and guided by Picasso. In the French capital he held a successful one-man show at the Galerie Percier, and came into contact with intellectuals such as Cocteau, Drieu la Rochelle, Max Jacob and others, with whom he founded the magazine "Philosophie" in 1924. Serge Diaghilev, who visited one of his exhibitions, also asked him to create the sets and costumes for the ballet "Les matelots" in 1925. From then on, he also worked on other musical works, such as "La vie de Polichinele" (1934) and "Oriane" (1938), among others. In 1928 he won second prize in the Carnegie Institute exhibition in Pittsburg and later, on his return to Barcelona, he won other awards such as the "Montserrat seen by Catalan artists" competition (1931) and the Nonell Prize (1936). Following the outbreak of the Civil War, Pruna continued his international exhibition activity, and his exhibition in London in 1937 was particularly noteworthy. After the war he combined his easel painting exhibitions with mural painting, a genre in which his works in the monastery of Montserrat were particularly celebrated. In 1965 he won the City of Barcelona Prize, and three years later he was appointed academician of the Far de Sant Cristòfor. His style, centred on a graceful, stylised female figure, is based on the clear delicacy of the pink and "neoclassical" Picasso, and reveals a certain parallelism with the Italian Novencento, being fully in keeping with the classicist trend that appeared in Western art after the first wave of avant-gardism and of which his friend Cocteau was the driving force. Pruna focused on portraiture and above all on the female figure, capturing images marked by great delicacy and sober distinction. His representations are characterised by a stylised, diaphanous line, and are in tune with the return to order that followed the rupture that Cubism represented in France, thus linking directly with the avant-garde. Pere Pruna is currently represented in the Museum of Montserrat, where there is a space bearing his name, the MACBA in Barcelona and the Maricel Museum in Sitges, among others.
S.T. DUPONT Feuerzeug "PICASSO". Limitierte Edition. Ligne 1 PM. Goldfarben mit Rillendekor, Einsätze aus schwarzem Chinalack mit dekorativen Details. Einsatz am Boden fehlt! Etui und Umkarton anbei.| S.T. DUPONT lighter "PICASSO". Limited Edition. Ligne 1 PM. Gold color with fluted decoration, black china lacquer inserts with decorative details. Insert at the bottom is missing! Case and outer box enclosed.
Picasso, Pablo (Málaga 1881 - 1973 Mougins) "Le Bouffon", Farblithografie, am unteren Rand im Stein signiert und datiert (19)58, nach dem Titelblatt für die Karnevalsausgabe der Zeitschrift "Le Patriot", eines von 500 Exemplaren, verzeichnet in "Picasso de l'image à lettre", S. 209, 57,5 x 44,5 cm (Passepartout-Ausschnitt), im Wechselrahmen unter Glas gerahmt, Gesamtgröße 75 x 60 cm. 3001-0080
Picasso, Pablo (Málaga 1881 - 1973 Mougins) "Femme nue et joueuse de flûte", Farblithografie nach dem Original von 1932, rückseitig Druckinschrift mit Bildtitel und "Le Vent d'Arles and SPADEM 1975 Printed in France", 48 x 63 cm, Papier etwas gebräunt, gerollt, kleine Knickspuren. 3001-0118
Picasso, Pablo (Málaga 1881 - 1973 Mougins) "Don Quixote" , Lithografie, im Stein signiert und datiert 1955, am Rand Prägestempel "Editions Combat pour la Paix Copyright S.P.A.B.E.M. Paris", rückseitig gestempelt "Diffusion Nouvelles Images", ca. 66 x 50 cm, Papier etwas gebräunt, gerollt. 3001-0072
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