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Click here to subscribePRINTS FROM THE MOURLOT PRESS, Chagall, Picasso, Miro, Matisse et al, published by Mourlot Press, Paris, 1964, one of 2000 copies on Velin d'Arches of this exhibition catalog from the Smithsonian Institution, with 18 original lithographs, loose from spine, some foxing to front and back pages, some annotations in pencil
Sechs Bücher zu Pablo Picasso, 2. H. 20. Jh.: Quinn, Edward u. Penrose R. "Picasso Werke und Tage", Manesse Verlag Zürich 1965; Sabartes, Jaime " Picasso les Ménines et la Vie", Paris 1958; Rubin, William " Pablo Picasso, Retrospektive im Museum of Modern Art, New York", Prestel-Verlag München 1980; Seckel-Klein, Hélène "Picasso und seine Sammlung", Kunsthalle Hypo-Kulturstiftung, München 1998; "Exposition Picasso 1970-1972", Palais des Papes-Avignon 1973; Elgar F. u. Maillard R. "Picasso", München 1956, Einbände Leinen, Broschur u. kartoniert, teils stärkere Altersspuren, 2736 - 0006
MISCELLANY, 20th CENTURY - David GASCOYNE (1916-2001). A Short Survey of Surrealism. [etc.]MISCELLANY, 20th-century – David GASCOYNE(1916-2001). A Short Survey ofSurrealism. [No place:] Cobden-Sanderson, 1935. 8vo (214 x 135mm). Half toneplates. Original turquoise pictorial cloth gilt (faded at foot of spine),dust-jacket designed by Max Ernst with price of 7s6d unclipped (piece torn awayfrom backstrip, repairs on verso). Provenance: G. L. J. Engle, April1953 (signature on front free endpaper). FIRST EDITION of the firstcomprehensive book on surrealism published in England. With 19 other 20th-centurybooks, namely Vita Sackville-West’s Knole and the Sackvilles (London,1922, original pictorial cloth), Frances Sheridan’s The History of Nourjahad(London, 1927, illustrations by Mabel R. Peacock, original decorated paperboards), Vita Sackville-West’s Twelve Days (London, 1928, originalcloth), Douglas Cockerell’s Some Notes on Bookbinding (Oxford, 1929,original boards), Vita Sackville-West’s Family History (London, 1932,original cloth), the same author’s TheLand (London, June 1939, reprint, original cloth), T. S. Eliot’s Little Gidding(London, 1942, wrappers), Frederic Prokosch’s Chosen Poems (London,1944, original boards, dust-jacket), Vita Sackville-West’s The Garden(London, 1946, original cloth, dust-jacket), Gertrude Stein’s Picasso (New York, 1946, original cloth, dust-jacket after a design by Picasso), Jean Cocteau’s Les EnfantsTerribles (Paris, 1947, illustrations by Guy Dollian, original wrappers,crudely repaired), Christopher Sandford’s Cockalorum … Being a Bibliographyof The Golden Cockerel Press June 1943-December 1948 (London, [n.d,.], originalcloth, dust-jacket), Vita Sackville-West’s The Heir (London, 1950,reprint, original cloth, dust-jacket), the same author’s Nursery Rhymes(London, 1950, reprint, illustrations by Philippe Jullian, original cloth,dust-jacket), Lawrence Durrell’s The Tree of Idleness (London, 1955,original cloth, dust-jacket), the same author’s Stiff Upper Lip (London,1958, original cloth, dust-jacket), the same author’s Sauve qui Peut(London, 1966, original cloth, dust-jacket), Anthony Powell’s Temporary Kings(London, 1973, original cloth, dust-jacket, A FINE COPY) and the same author’s HearingSecret Harmonies (London, 1975, original cloth, dust-jacket, A FINE COPY). Provenance: From the Library ofthe late Sir George Engle. Please note that only a part of this lot is illustrated. The lot sold not subjectto return. (20)
PICASSO PABLO: (1881-1973) Spanish Painter. An exceptional illustrated A.L.S., Olga et Picasso (also signing on behalf of his first wife), to one side of a picture postcard depicting a Christmas winter scene to the recto, Paris, 2nd January 1919, to Mr & Mrs [Henri] Defossé, at the Coliseum Theatre in London, in French. At the head of the letter Picasso has executed a wonderful, charming original pen and ink drawing of a Christmas dinner, apparently for four people with a turkey, two bottles of wine accompanied by four glasses and several bunches of grapes and other fruits laid out on a table. A decorative, dark flowing line adorns the upper part of the exquisite drawing with the year 1919 at the head. Beneath his drawing Picasso writes a brief message to his friends, presenting them with the Christmas dinner, 'Dear friends, here you have, with this well-served table, our best wishes', also adding the address of his Parisian home and workshop at Rue la Boetie in his hand beneath his signature. Such detailed original ink drawings by Picasso, particularly from this earlier stage of his career, rarely appear at auction and the present example is enhanced by an interesting association. Some very minor, light age wear, otherwise VG Henri Defossé (1883-1956) French Conductor, Pianist & Composer. Sergei Diaghilev's favourite conductor, Defossé was chosen to lead the Ballets Russe at London's Coliseum Theatre in 1918 & 1919. Olga Khokhlova (1891-1955) Russian Ballet Dancer, the first wife of Pablo Picasso and one of his early artistic muses. Khokhlova first met Picasso whilst dancing in Diaghilev's Parade in 1917 for which the artist had designed the set and costumes. They married in July 1918 and in July the following year they travelled to London together for the performance of Diaghilev's Le Tricorne for which Picasso had again designed the costumes and stage.
HAYTER STANLEY WILLIAM: (1901-1988) English Painter and Printmaker associated with surrealism in the 1930s and abstract expressionism from the 1940s onwards. Hayter founded the legendary Atelier 17 studio which was frequented by many artists including Picasso, Miro, Chagall, Rothko, Pollock and Kandinsky. A good T.L.S., Bill, one page, 4to, Waverly Place, New York, 21st April (1946), to Gigi [Richter]. Hayter apologises for his disgrace in not having answered his correspondent’s letters and explains that he hopes to be in London in June ‘when I hope to see you and thank you adequately for attending to my affairs for me’. The artist informs Richter that he will make a one man show in New York at the Hugo Gallery before he leaves but doesn’t think that one will be possible in London, remarking ‘Here I have been doing very well; got a new colour print that I want to show you when I come; unholy job of additive colour’. He also thanks Richter for sending a catalogue from the Jeune Gravure show (‘they had nothin [sic] of mine in it since 1932’) and further remarks ‘I enjoyed the cuttings about the Picassos. It’s a wonderful country for fighting over ancient causes that were settled years ago elsewhere; in Hyde Park on Sunday afternoon you could generally find someone solemnly discussing Homoousian (sic) as if they had never heard of the Nicean (sic) Creed’. Hayter also writes that, shortly after Richter left New York, Sonja Sekula came to work at the Atelier on one occasion, explaining ‘by the time about half a dozen of the chaps arrived she got scared (or pretended to) and left - - she hasn’t been back to work since - - I don’t know what this calls for but I am too busy to try to cope with her. She is to show with Peggy Guggenheim whose scandalous book turned out to be less so than one expected - - fortunately any stories I should have objected to were killed off before publication’. In concluding Hayter asks if Richter met John Buckland Wright in London, commenting ‘He would be able to help if you wanted to continue with the gravure’, and also recommends his old friend Anthony Gross. Accompanied by the original envelope (postage stamps crudely torn away) hand addressed by Hayter and signed (‘Hayter’) by him in the return address panel. VGIrmingard Emma Antonia Richter (1922-2020) German-born art restorer, better known as Gigi Richter. Described as ‘the doyenne of picture restorers throughout the 1940s and 1950s’ Richter attended art school in New York after leaving Europe at the outbreak of World War II. She then pursued art conservation studies at the Brooklyn Museum of Art and the Fogg Art Museum at Harvard University. Richter moved back to England at the end of 1945 and was to pursue art restoration in London until changing career paths to become a botanist in 1960.Sonja Sekula (1918-1963) Swiss-born Artist linked with the abstract expressionist movement. Peggy Guggenheim (1898-1979) American art collector, bohemian and socialite who had included Sekula’s work in her ’31 Women’ exhibition of 1943 and also gave the artist a solo exhibition in 1946. Guggenheim’s biography, Confessions of an Art Addict, was also published in 1946. John Buckland Wright (1897-1954) New Zealand-born British Painter, Etcher & Engraver.Anthony Gross (1905-1984) British Printmaker and Painter, an Official War Artist during World War II.
TZARA TRISTAN: (1896-1963) Born Samuel Rosenstock, also known as Samyro. Romanian-French avant-garde Poet and Playwright. Tzara was one of the founders of the Dada movement. Author of his celebrated utopian poem The Approximate Man. An excellent and lengthy A.L.S., `Tzara´, two pages, 8vo, Paris, 30th January 1954, to Leone Traverso, in French. Tzara states in part `I have just returned to Paris, and as you can see, I keep my promise. In the today´s date copy of the Figaro Littéraire, Corbiere´s grandson has published a very long article about his uncle which has some interest. He tries - in order to save the honorability(!) of the family - to present a Corbiere "not-cursed", if I may say…´, further saying `I have found Paris in a lamentable state, melted snow, cold, desolation..´ On a post-scriptum written to the left border, Tzara adds `The revue "Commentaires" has published a conference on Picasso without asking my authorization, without sending me proofs to revise: there is a considerable number of mistakes, and some are very serious, because they make me say the opposite of what I said.´ Small overall creasing. G Leone Traverso (1910-1968) Italian Poet and Translator
BARDOT BRIGITTE: (1934- ) French Actress & Sex Symbol. A good A.N.S., `Brigitte Bardot´, and drawing, to the verso of a 7.5 x 5 photograph. Bardot states `Thank you my dear Horst for the delicious chocolates! 2018 Kisses!´, in English, also adding alongside a large drawing of a daisy flower. The document has been affixed to a card, beneath a 5 x 7 photograph, unsigned, showing Pablo Picasso and Brigitte Bardot, both standing in a three quarter length poses, at Picasso´s studio, to an overall of 8 x 12. VG
Picasso, PabloMalaga, 1881 - Mougins, 1973Blattgröße: 30 x 28,3 cm; 11,5 x 23,5 cm, o. R."Les dames de mougins", 1963. Radierung auf Bütten. In Bleistift unten rechts signiert und unten links nummeriert 109/150 sowie in der Platte datiert "18.11.63".Bloch, 1131.Privatbesitz, Baden-Württemberg.
Picasso, PabloMalaga, 1881 - Mougins, 1973Blattgröße: 30,7 x 28,4 cm; 11,5 x 23,5 cm, o. R."Le peintre et son modèle", 1963. Radierung auf Bütten. In Bleistift unten rechts signiert und unten links nummeriert 89/125 sowie in der Platte datiert "4.12.63".Bloch, 1139.Privatbesitz, Baden-Württemberg.
Pablo Picasso (Málaga 1881 – 1973 Mougins). „Sculpteur et son modèle avec la tête sculptée du modèle“. 1933Radierung auf Montval-Bütten (Wasserzeichen: Vollard). 19,4 × 26,8 cm (34 × 44,5 cm) (7 ⅝ × 10 ½ in. (13 ⅜ × 17 ½ in.)). Signiert.Gaiser/Baer 324 B.d.–Einer von 260 Abzügen aus einer Gesamtauflage von 316 Exemplaren. Paris, Edition Vollard, 1939. [3384]Zustandsbericht: In gutem Zustand. Im Passepartoutausschnitt leicht gebräunt. Entlang der Passepartoutkanten schwacher Lichtrand. Die Blattkanten ohne Einrisse oder Fehlstellen. Unter UV-Licht sind keine Restaurierungen erkennbar. Rückseitig oben kleine Montierunggsreste (weißes Papier). Rückseitig in den oberen Ecken mit Japanpapier am Unterkarton montiert. Harmonischer Gesamteindruck.Wir berechnen auf den Hammerpreis 30% Aufgeld.
Pablo Picasso (Málaga 1881 – 1973 Mougins). „La colombe en vol, fond noir“. 1950Lithografie auf Velin, auf Karton aufgezogen. 49,8 × 64,5 cm (50,3 × 66 cm) (19 ⅝ × 25 ⅜ in. (19 ¾ × 26 in.)). Signiert.Rau 504.–Einer von 50 nummerierten Abzügen aus einer Gesamtauflage von 55 Exemplaren. Paris, Galerie Louise Leiris. [3156]Zustandsbericht: Ex. 24/50Das Blatt ist rückseitig an den Rändern auf Karton geklebt. Papier schwach unregelmäßig gebräunt (entlang der Passepartoutkanten schwacher Lichtrand). Der am linken Darstellungsrand optische "Riss" ist keiner, sondern eine Fehlstelle im Stein. Die Blattkanten ohne Einrisse oder Fehlstellen. Entlang der Passepartoutkanten schwacher Lichtrand. Unter UV-Licht schwache Stockflecken.Wir berechnen auf den Hammerpreis 30% Aufgeld.
Art Reference. The art reference library of Dr Jeffrey Sherwin (1936-2018), containing numerous exhibition catalogues, artist monographs, coffee-table books, auction catalogues (Sotheby's and Christie's), and similar, on artists including Dali, Henry Moore, Picasso, Van Gogh, and others, publishers including Tate, Thames & Hudson, Royal Academy of Arts, etc., together with assorted other books including vintage Penguin paperbacks (mainly classics of English literature), Yorkshire reference, etc., individual titles including: 1) Horner (Libby, & Gillian Naylor), Frank Brangwyn 1867-1956, 2 copies, limited editions, each numbered 1 of 100 copies, Leeds: Leeds Museums and Galleries, 2007, folio, original red cloth, slipcases, each front cover lettered 'Presented to Dr. Jeffrey Sherwin' in gilt, dedication leaf to each volume reading 'Presented to Dr. Jeffery Sherwin by Leeds Museums and Galleries. This special edition has been hand bound in binders cloth. Limited edition No. 001 of 100', 2) McShine (Kynaston, editor). Andy Warhol. A Retrospective, 1st edition, New York: Museum of Modern Art, 1989, 4to, original patterned boards, clear plastic dust jacket with printed outline portrait and title to front panel, 3) Gilbert (Christopher). Furniture at Temple Newsam and Lotherton Hall, 1st edition, [London?]: published jointly by the National Art-Collections Fund and the Leeds Art Collections, 1978. 2 volumes, 4to, dust jackets, signed by Gilbert and others, together with: Walton (Peter, Creamware and other English Pottery at Temple Newsam House, Leeds, 1st edition, Bradford & London: Manningham Press, 1976. 4to, original cloth, dust jacket, signed by Walton and others, both works housed in single slipcase with gilt morocco label 'To Jeffrey, with good wishes from all his directors in Leisure Services, May 1980', 4) British Surrealism & Other Realities. The Sherwin Colleciton, 2 copies, Middlesbrough: Middlebrough Institute of Modern Art, 2008, 8vo, original cloth-backed photographic boards (qty: 37 boxes) 'Dr Jeffrey Sherwin ... was a GP who became instrumental in creating the Henry Moore Institute in Leeds and who assembled a renowned collection of British surrealist art which he placed on show around the world ... Dr Sherwin was educated at Leeds Grammar, Leeds University and Balliol College, Oxford ... It was in 1977 that he met the Castleford-born sculptor, Henry Moore, and learned that despite his world renown and having studied in Leeds, he had never been invited back to the city. A fruitful relationship ensued, and Dr Sherwin conceived the idea of creating a separate sculpture gallery at the front of the old Leeds City Art Gallery, fighting to secure the £150,000 funding needed to make the Henry Moore Institute a reality. The son of a Jewish GP father, Jeffrey had inherited his interest in art from his mother Rachey, an amateur ceramicist. He began collecting paintings whilst a student in Oxford. An event at Leeds City Art Gallery to commemorate the 50th anniversary of the 1936 International Surrealist Exhibition opened his eyes to British surrealism, and he began to acquire works at auctions and directly from living artists ... It became the largest collection of British surrealist art assembled through amateur enthusiasm rather than for private gain, and works from it have been sent on loan to the Tate in London and the Museum of Modern Art in New York as well as galleries in France, Spain, and Germany' (Obituary, Yorkshire Post, 17 November 2018).
Pedro Paricio The Collectors, 2021 Mixed Media on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Paricio was born on 16 January 1982 on Tenerife in the Canary Islands. As a child, he was always drawing, but at high school he studied science and only began to contemplate a future in the arts a few months before going to college. 'To be honest, the thing that attracted me was the freedom that society gives to the artist', he explains. 'I chose art because I wanted a different life'. Yet, with the benefit of hindsight, he now feels that the chain of events that led him into art was a process of discovering his fate, his destiny. Paricio enrolled at the Faculty of Fine Arts of the University of La Laguna, Tenerife, moving on to a course in Salamanca and completing his training with a degree in Fine Arts at the University of Barcelona (2004-2006). While at college, he considered a career as an art critic-cum-curator; such essays as Unfinished Articles I and II convey a lucid intelligence that enables him to reflect, for example, on the tyrannical relationship between artistic theory and practice. Paricio was focusing mostly on sculpture, installation and video art at the time of his first group show, Don't Call it Performance (2004), at Domus Artium 2002 (DA2), Salamanca, Spain, but shortly afterwards decided to make painting his sole medium; he considers the latent possibilities of painting to be infinite and dismisses the idea of using other media or technology in response to fleeting fads in art. Paricio currently divides his time between Tenerife and London. His paintings are held in many private collections around the world, and he enjoys an international reputation following exhibitions throughout Europe and the United States. The Master Painters show at Halcyon Gallery, London, in 2011 made an impact on the international art scene, and in 2012 The Theatre of Painting, his solo museum exhibition in Spain, was staged at the Institute of Culture and Arts of Seville. In early 2013, he took part in the Gabinete de Curiosidades, a mixed exhibition of works by modern and contemporary artists at the Plataforma Arte Contemporáneo (PAC), Madrid, and the Art Madrid Maestros Art Fair in Madrid. Paricio was honoured to be selected for inclusion in Francesca Gavin's book 100 New Artists (2011), representing an innovative generation that is forming the aesthetics of the coming decade. 2006 BA Fine Arts, University of Barcelona, Spain SOLO EXHIBITIONS 2019 Paricio, Picasso, Halcyon Gallery, London, UK 2016 Dreams, Halcyon Gallery, London, UK 2014-15 Elogio de la pintura, Espacio de las Artes (TEA), Tenerife, Spain 2014 Dialogo con el color la belleza y la forma, Galería Muro Valencia, Spain 2014 Shaman, Halcyon Gallery, London, UK 2012 Diary of an Artist and Other Stories 2007-2012, Halcyon Gallery, London, UK 2012 The Theatre of Painting, Casino de la Exposición (ICAS), Seville, Spain 2011 Master Painters, Halcyon Gallery, London, UK 2010 Fe infinita, Galeria Balaguer, Barcelona, Spain 2009 Pedro Paricio, Seyhoun Gallery, Los Angeles, EEUU 2009 Un pintor otro, Galeria Muro, Valencia, Spain 2008 The Canary Paradise, Ikara Gallery, Barcelona, Spain 2006 Intimissimo, Espacio Joven, Salamanca, Spain SELECTED GROUP EXHIBITIONS 2018 ArtRocks, Halcyon Gallery, London, UK 2017 Quijotes en tiempos de crisis, Liceo de Taoro, La Orotova, Spain 2017 Pelé: Art Life Football, National Football Museum, Manchester, UK 2017 Clouded Lands, Fundación Caja Burgos (CAB), Burgos, Spain 2015 Pelé: Art, Life, Football, Halcyon Gallery, London,UK 2015 The Art of Creating, Halcyon Gallery, London, UK SELECTED COLLECTIONS Fundación Cesáreo Rodríguez-Aguilera, Jaén, Spain Fundación Caja Burgos (CAB), Burgos, Spain Norton Museum of Art, Florida, EEUU Espacio de las Artes (TEA), Tenerife, Spain Ernesto Ventos Collection, Olorvisual, Barcelona, Spain SELECTED PUBLICATIONS 2019 Paricio, Picasso, published by Halcyon Gallery, London, UK 2016 Dreams, published by Halcyon Gallery, London, UK 2015 Pelé: Art, Life, Football exhibition catalogue with essays: Brian Winter, 'Why Pelé Still Inspires Us'; Dr.Bernard Vere, 'Andy Warhol, Pelé, and the 'Athletes' Series' (Halcyon Gallery) 2015 Elogio de la pintura, exhibition catalogue (TEA Tenerife Espacio de las Artes)
Pedro Paricio The Collectors, 2021 Mixed Media on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Paricio was born on 16 January 1982 on Tenerife in the Canary Islands. As a child, he was always drawing, but at high school he studied science and only began to contemplate a future in the arts a few months before going to college. 'To be honest, the thing that attracted me was the freedom that society gives to the artist', he explains. 'I chose art because I wanted a different life'. Yet, with the benefit of hindsight, he now feels that the chain of events that led him into art was a process of discovering his fate, his destiny. Paricio enrolled at the Faculty of Fine Arts of the University of La Laguna, Tenerife, moving on to a course in Salamanca and completing his training with a degree in Fine Arts at the University of Barcelona (2004-2006). While at college, he considered a career as an art critic-cum-curator; such essays as Unfinished Articles I and II convey a lucid intelligence that enables him to reflect, for example, on the tyrannical relationship between artistic theory and practice. Paricio was focusing mostly on sculpture, installation and video art at the time of his first group show, Don't Call it Performance (2004), at Domus Artium 2002 (DA2), Salamanca, Spain, but shortly afterwards decided to make painting his sole medium; he considers the latent possibilities of painting to be infinite and dismisses the idea of using other media or technology in response to fleeting fads in art. Paricio currently divides his time between Tenerife and London. His paintings are held in many private collections around the world, and he enjoys an international reputation following exhibitions throughout Europe and the United States. The Master Painters show at Halcyon Gallery, London, in 2011 made an impact on the international art scene, and in 2012 The Theatre of Painting, his solo museum exhibition in Spain, was staged at the Institute of Culture and Arts of Seville. In early 2013, he took part in the Gabinete de Curiosidades, a mixed exhibition of works by modern and contemporary artists at the Plataforma Arte Contemporáneo (PAC), Madrid, and the Art Madrid Maestros Art Fair in Madrid. Paricio was honoured to be selected for inclusion in Francesca Gavin's book 100 New Artists (2011), representing an innovative generation that is forming the aesthetics of the coming decade. 2006 BA Fine Arts, University of Barcelona, Spain SOLO EXHIBITIONS 2019 Paricio , Picasso, Halcyon Gallery, London, UK 2016 Dreams, Halcyon Gallery, London, UK 2014-15 Elogio de la pintura, Espacio de las Artes (TEA), Tenerife, Spain 2014 Dialogo con el color la belleza y la forma, Galería Muro Valencia, Spain 2014 Shaman, Halcyon Gallery, London, UK 2012 Diary of an Artist and Other Stories 2007-2012, Halcyon Gallery, London, UK 2012 The Theatre of Painting, Casino de la Exposición (ICAS), Seville, Spain 2011 Master Painters, Halcyon Gallery, London, UK 2010 Fe infinita, Galeria Balaguer, Barcelona, Spain 2009 Pedro Paricio, Seyhoun Gallery, Los Angeles, EEUU 2009 Un pintor otro, Galeria Muro, Valencia, Spain 2008 The Canary Paradise, Ikara Gallery, Barcelona, Spain 2006 Intimissimo, Espacio Joven, Salamanca, Spain SELECTED GROUP EXHIBITIONS 2018 ArtRocks, Halcyon Gallery, London, UK 2017 Quijotes en tiempos de crisis, Liceo de Taoro, La Orotova, Spain 2017 Pelé: Art Life Football, National Football Museum, Manchester, UK 2017 Clouded Lands, Fundación Caja Burgos (CAB), Burgos, Spain 2015 Pelé: Art, Life, Football, Halcyon Gallery, London,UK 2015 The Art of Creating, Halcyon Gallery, London, UK SELECTED COLLECTIONS Fundación Cesáreo Rodríguez-Aguilera, Jaén, Spain Fundación Caja Burgos (CAB), Burgos, Spain Norton Museum of Art, Florida, EEUU Espacio de las Artes (TEA), Tenerife, Spain Ernesto Ventos Collection, Olorvisual, Barcelona, Spain SELECTED PUBLICATIONS 2019 Paricio, Picasso, published by Halcyon Gallery, London, UK 2016 Dreams, published by Halcyon Gallery, London, UK 2015 Pelé: Art, Life, Football exhibition catalogue with essays: Brian Winter, 'Why Pelé Still Inspires Us'; Dr.Bernard Vere, 'Andy Warhol, Pelé, and the 'Athletes' Series' (Halcyon Gallery) 2015 Elogio de la pintura, exhibition catalogue (TEA Tenerife Espacio de las Artes)
Verve.: Vol. VIII, Nos. 29-30: Suite de 180 dessins de Picasso. Paris 1954. Fol. Mit 1 farb. Lithogr. auf dem Einband nach Picasso u. zahlr., tls. farb. Abb. u. 12 Farblithogr. nach Picasso. Farb. illustr. Opbd. (Tls. etw. best.). Goeppert/Cramer S. 411. - Picasso gewidmete Sondernummer, die 180 Zeichnungen enthält, entstanden im Winter 1953/54 in Vallauris. Druck der Lithogr. von Mourlot. - With 1 colour lithograph on the cover after Picasso, numerous illustrations and 12 colour lithographs after Picasso. Illustrated colour cased boards (partly somewhat bumped).
Stein (Gertrude) Lucy Church Amiably, first edition, signed presentation inscription from the author "To Charlotte Becker Whom I very well remember and who was so pleasant and amused in those early days Gertrude Stein" to rear endpaper and upside down, original printed boards, spine lightly faded with ends chipped, rubbing and some light wear to extremities, preserved in custom chemise and slip-case, [Wilson A14a], 8vo, Paris, Imprimerie ''Union'', 1930.⁂ The first title Stein's Plain Editions Series, started by Stein after she despaired of her publishers and financed by the sale of one of her Picasso paintings. The present copy is a very good example of a notoriously fragile work. Charlotte Becker, poet and author, friend and sometime lover of Mabel Dodge Luhan (1879-1962), patron of the arts.
Stein (Gertrude) Dix Portraits, translated by Georges Hugnet and Virgil Thompson, number 90 of 65 copies numbered 36 to 100 on arches paper and signed by the author and translators, from an edition limited to 500 copies, 10 plates by Picasso, Tchelitchef, Bérard, Tonny and E. Berman, original printed wrappers, light toning to spine and margins, spine ends a little chipped, [Wilson A15c], 8vo, Paris, Éditions de la Montagne, [1930].
Stein (Gertrude) Matisse Picasso and Gertrude Stein, first edition, one of 500 copies, signed presentation inscription from the author dated November 21/'34 to half-title, "Printed in France" ink stamp to front free endpaper, original printed wrappers, browning to spine, light staining to joints, spine chipped and cracked with split to lower joint, chip to upper fore-edge, original printed slip-case (spine chipped and foot, light staining and browning), [Wilson A19a], 8vo, Paris, Plain Edition, 1933.⁂ The last of the titles printed under Stein and Toklas' Plain Edition imprint. Rare inscribed.
Stein (Gertrude) Matisse Picasso and Gertrude Stein, first edition, one of 500 copies, signed presentation inscription "To dear George Wohl with the lovely pen he brought me - with warmest remembrances - Alice Toklas" to title, front free endpaper and half-title just working loose, bookplate of Earl F. Weber to inside front cover, original printed wrappers, spine browned, small chip to lower joint, an excellent example, original printed slip-case (some light browning or soiling but generally excellent), [Wilson A19a], 8vo, Paris, Plain Edition, 1933.⁂ An exceptional copy with a charming inscription from the publisher, we can trace only one other copy inscribed by Toklas at auction.
Stein (Gertrude) Picasso, first edition, signed presentation inscription from the author to half-title, frontispiece, plates, very light marginal toning, faint marking to title, modern blue crushed morocco, original wrappers bound in (some chipping to lower corners), [Wilson A30a], 8vo, Paris, Librairie Floury, 1938.
Cocteau (Jean) Cock and Harlequin, first English edition, frontispiece portrait by Picasso, some spotting, Egoist Press, 1921; Souvenir de Jean Giraudoux, first edition, inscribed to Jacques Henri Lartigue, some spotting to covers, Paris, Jacques Haumont, 1946, signed presentation inscriptions from the author, original wrappers, some light toning and creasing, 8vo (2)⁂ Jacques Henri Lartigue (1894-1986), photographer, was friends with Cocteau, Picasso and many other artists, writers and filmmakers in Paris during this period.
NO RESERVE Cocteau (Jean) Le Secret Professionnel, first edition, signed presentation inscription from the author to Natalie Clifford Barney dated 3 Sept. 1922 to half-title, frontispiece portrait of the author by Picasso, light browning to text margins, original printed wrappers, light toning to cover, creasing to upper joint, 12mo, Paris, Librairie Stock, 1922.⁂ A very good association copy, inscribed to the expatriate author Barney. Natalie Clifford Barney (1876-1972) American playwright, poet and novelist who spent much of her life in Paris. She held a series of celebrated salons at her Paris home that became an important feature of Parisian cultural life and made Barney a central figure among the Paris Left Bank writers and artists. See also lots 29 and 426.
Oskar KokoschkaLiegender Akt - Schule des Sehens1953Wachskreide auf Papier45,7 x 61 cmSigniert und datiert links oben: OKokoschka 53Kunsthandel, Wien;österreichischer PrivatbesitzPeter Weiermaier (Hg), Die Intelligenz der Hand, Europäische Meisterzeichnungen von Beuys bis Picasso, Ausstellungskatalog Rupertinum, Salzburg 2000, S. 53;Oskar Kokoschka, Zeichnungen, Aquarelle, Lithografien, Katalog Galerie Ruberl, Wien 2010, Abb. S. 52f.Kokoschka war ein Meister des Sehens. Diese Fähigkeit ist unerlässlich für eine eigenständige künstlerische Praxis. 1953 gründete er die "Schule des Sehens" in Salzburg. Anhand von Aktstudien ermutigte Kokoschka seine Schüler die Welt mit eigenen Augen zu begreifen. Der "Liegende Akt" ist die Meisterzeichnung eines geschwungenen Körpers mit quellenden Formen. Eine Komposition eingefangen durch die authentische Handschrift des Künstlers.(Christa Armann)
Pablo PicassoMinotaure, Buveur et Femmes (aus: La Suite Vollard)1933Radierung auf Papier Vergé de Montval29,8 x 36,5 cm (Plattengröße), 34 x 44,5 cm (Blattgröße)Signiert mit Bleistift rechts unten: PicassoBezeichnet und datiert rechts unten in der Platte (spiegelverkehrt): 18 Juin 1933mit Wasserzeichen "Picasso" am linken BlattrandEdition von 260, herausgegeben von Ambroise Vollard, Paris, 1939Galerie Fetzer, Sontheim;dort 2007 erworben, Privatbesitz, SalzburgGeorges Bloch, Pablo Picasso, Band I, Katalog des graphischen Werkes 1904-1967, Bern 1984, WV-Nr. 200, S. 68 (mit Abb.)
Otto MuehlViolaine1986Öl auf Leinwand; ungerahmt190 x 140 cmBezeichnet, signiert und datiert rechts unten: Violaine, Muehl 9.3.86Archives Otto Muehl, Portugal;österreichischer PrivatbesitzOtto Muehl gehört zu den umstrittensten Künstlern seiner Generation, nicht nur wegen seiner radikalen Kunst, sondern auch wegen seines radikalen Lebensentwurfs, den er mit Gleichgesinnten in der Kommune am Friedrichshof im Burgenland realisieren wollte. In seinem Streben nach "der Verschmelzung von Kunst und Leben" (https://www.diepresse.com/1411649/otto-muehl-kunstler-verbrecher-demagoge, zugegriffen am 11.5.2021), hat er Grenzen überschritten und Missbrauch begangen und geduldet. "Die konkrete Arbeit an der radikalen Utopie von der Veränderbarkeit der Welt durch Kunst endete in Chaos", in einem "despotischen, demütigenden, unterdrückenden System" (https://www.diepresse.com/1411180/kunstler-und-kommunengrunder-otto-muehl-gestorben, zugegriffen am 13.5.2021). Die Rezeption seines Werkes ist eine Herausforderung, denn der Künstler Muehl ist vom Menschen Muehl nicht komplett zu trennen. Dennoch ist die Bedeutung seines künstlerischen Werks, beginnend vom Aktionismus bis zur Neuentdeckung der Malerei, mal expressiv, mal neusachlich bis hin zu abstrakt, hervorzuheben. Das Leben an sich, mit all seinen Facetten, auch den grausamen, gewaltvollen, die wir gerne ausblenden, steht von Anfang an im Mittelpunkt seines Schaffens.1986 war die Blütezeit der Kommune am Friedrichshof überschritten, der Streit ums Gemeinschaftseigentum hatte den Zusammenhalt geschwächt. In einer Finca auf der kanarische Insel La Gomera wagt man einen Neuanfang. In den Folgejahren bis 2002 beschäftigt sich Otto Muehl in seiner Malerei verstärkt mit Konturen. Breite Umrisslinien in Blau, Schwarz, manchmal auch Orange grenzen monochrome Farbfelder ein, die keinerlei Pinselduktus aufweisen und die Arbeiten in die Nähe der Pop-Art rücken. Die Figuren dieser Jahre wirken durch die flächige, plakative Malweise und in ihrer artifiziellen Farbigkeit wie Protagonisten eines Comics. In den Darstellungen widmet der Künstler sich den Themenkreisen Leben, Tod und Sexualität. Ein Liebespaar wird von einer Uhr erschlagen, eine nackte Frau ringt mit einem Skelett, Akte paaren sich im übertrieben dargestellten Geschlechtsakt. Jene "ungescheute Darstellung von Sexualität und sogenannter Perversion, die Auseinandersetzung mit Aggression und Gewalt" (Otto Muehl. Sammlung Leopold, Ausstellungskatalog, Leopold Museum, Wien 2010, S. 36) sind eines der Kennzeichen des Muehlschen Oeuvres.Die dargestellte Violaine Roussies, die 1982 in die Kommune kam, und neben Otto Muehls Frau, Claudia, zu seinem engsten Kreis zählte, lebt heute als Künstlerin in Portugal und betreut die Archives Otto Muehl in der art & life community in Faro, wo der Künstler seine letzten Lebensjahre verbracht hat. Sie ist auch Protagonistin zahlreicher Filme der Muehl-Kommune wie "Vincent", "Andy’s Cake" und "Picasso". Violaine präsentiert sich aufreizend dem Betrachter. Sie ist in Untersicht wiedergegeben, man blickt aus einer tieferliegenden Position zu ihr auf. Die glatte Malweise steht im Kontrast zur emotionalen und erotischen Aufgeladenheit, zur "ungehemmten Sinnlichkeit" (s.o. S. 36) der Szene. (Sophie Cieslar)Dieses Bild, "die junge Violaine" von 1986, Acryl auf Leinwand, ist eines der ersten aus den Serien der "Foto-SDs" von 1986. Man könnte diese Phase, am Friedrichshof entstanden, als eine formal klassische bezeichnen. Muehl interessiert sich in dieser Bilderserie für die Umsetzung von Zeichnung und Fotografie in die Malerei. Die Fotografie, die den Moment (Zeit, Pose, Ausdruck, Umgebung) fixiert, mit der Malerei zu verbinden, ist ein Prozess, den er immer wieder aufgegriffen hat. In dieser Serie wird das Foto auf die Leinwand projiziert, und der Künstler übersetzt es direkt mit einer klaren, energiegeladenen, farbigen Linie. In diesen Zeiten gehörten Zeichnen, Fotografieren und Filmen zum täglichen künstlerischen Programm. Bei den Besprechungen und Studien dieser Foto-Sessions standen die formalen Kriterien im Vordergrund. Kontraste und Gegensätze sind weich ineinander verwoben: großzügig angelegte und detailreiche Flächen (Gesicht, Hände, Haare), hellblaue Pastelltöne im Hintergrund und sanftes, komplementäres Ocker als Körperfarbe in zartem Kalt-Warm-Kontrast, aber auf gleicher Helligkeitsstufe. So wird der Raum aufgehoben, der Mensch in seine Umgebung integriert und mit der Welt verschmolzen.(Violaine Roussies)
Josef PillhoferMaxim1958BronzeH. 97 cmBronzeabguss der Steinskulptur aus dem Jahr 1958Auflage: 6 Stück + 1 Künstlerguss mit Signatur PDieses Exemplar ist nicht signiert.österreichischer PrivatbesitzDie intensive Auseinandersetzung mit der menschlichen Figur ist Josef Pillhofers Plastiken aus übereinander angeordneten, kubischen Elementen eingeschrieben. Durch vor- und zurückspringende Formen, durch Flächen, Kanten und Ecken, definiert Pillhofer differenzierte Körperposen und Bewegungstendenzen, und er tut dies stets im Sinne einer Reduktion auf das Wesentliche.Pillhofers bildhauerischer Arbeit geht ein genaues Observieren und detailliertes Skizzieren des Naturvorbilds voraus. Dabei ist ihm ein zentrales Anliegen, die innere Gestalt, das Wesen des Darzustellenden, zu erfassen und wiederzugeben. Dem Betrachter wird eine intensive Rezeption der kubisch-tektonischen Strukturen abverlangt, um die Wesenheit begreifen zu können. Ein wiederholtes Umrunden der Figur ist erforderlich, sowie ein ausgeprägtes räumliches Vorstellungsvermögen.Die Referenz auf die Natur zeigt sich als Konstante im Werk Pillhofers – sowohl in den Arbeiten, in denen er ein kubistisches Formenvokabular anwendet, als auch in seinen realistischen Darstellungen. Beide Darstellungsmodi verortet Pillhofer als gleichwertig. Der unbekümmerte Wechsel zwischen den scheinbar konträren Polen Abstraktion und Realismus stellt einen signifikanten Wesenszug in Pillhofers Œuvre dar und verleiht ihm eine singuläre Position unter seinen Zeitgenossen.Geprägt wird Pillhofer einerseits von Fritz Wotruba, dessen Schüler er war, andererseits von den französischen Wegbereitern der Moderne Henri Laurens, Ossip Zadkine, Alberto Giacometti und Constantin Brancusi, mit denen er während eines längeren Aufenthalts in Paris Anfang der 1950er Jahre regen Austausch pflegt. Pillhofer studiert die Arbeiten der Avantgardisten Aristide Maillol, Paul Cezanne, Henri Matisse und Pablo Picasso, an dessen kubistisches Erbe er anknüpft.Die 1950er und 1960er Jahre stellen für Pillhofer eine bewegte und produktive Zeit dar: Zwei Jahre nach seiner Rückkehr aus Paris nimmt er 1954 einen Lehrauftrag an der Akademie der bildenden Künste an. 1955 wird er Mitglied der Wiener Secession. 1957 erhält Pillhofer ein dreimonatiges Rom-Stipendium. 1959 gründet er gemeinsam mit Heimo Kuchling die "Gruppe 59", zu der auch Oswald Oberhuber, Otto Muehl und Joannis Avramidis zählen. Pillhofer zeigt seine Arbeiten damals nicht nur in ganz Österreich – er ist international präsent, etwa bei Ausstellungen in der Schweiz, in den Niederlanden, in Belgien, in Frankreich, in Kanada, in den USA und in Italien bei der Biennale in Venedig. 1964 nimmt Pillhofer an den Weltausstellungen in New York und in Paris teil.(Isabell Kneidinger)
FIVE BOXES OF BOOKS ON THE SUBJECTS OF ART AND ARCHITECTURE, publishers include Tate Gallery - Max Ernst, late Picasso, Cezanne, George Stubbs, etc, Royal Academy - Picasso, Kandinsky, Mantegna, John Sloan, etc, other artists covered by other publishers include Man Ray, Lucien Freud, Renoir, Frank Lloyd Wright, Degas, David Hockney, Egon Schiele, etc
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