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Lot 304
Folio Society, range of Non-Fiction cased Folio Society books to include; The Folio Society Book of The 100 Greatest Paintings, The Folio Society Book of the 100 Greatest Photographs, Michelangelo by Howard Hibberd, Leonardo Da Vinci by Kenneth Clark, Picasso (1961), Renoir (1965), Rembrandt (1963), Toulouse-Lautrec (1958), Egypt Revealed, First Folio, From Atlanta to the Sea, The Hundred Years War, The Siege of Malta, The Voyage of the Frigate Pallada, The Third Crusade, Scotts Last Expedition, The Relief of Lucknow and Shakespeare’s Life and World, The London Journal, Journal of my Service in India, My life on the Plains, The New Newgate Calendar, Journal of the Plague Year, A Memoir of the Forty-Five, Lives of the Most Notorious Pirates, Life of Nelson, The Spy’s Bedside Book, A Short History of Time, Kenneth Clark Civilisation, Life by Richard Fortey, Colour by Victoria Finlay, The Wars of the Roses, The Folio book of Days, The Earth an Intimate History, A Tour through the Whole Island of Great Britain, The Making of the English Landscape, A Voyage Around the Coast of Great Britain. Total books 38. (38)
Lot 918
A SMALL QUANTITY OF PICTURES AND PICTURE FRAMES ETC, to include a vintage Picasso print 'Girl and Dog', approximate size 78cm x 57cm including frame, an unsigned oil on board depicting a boy playing a video game, an Anne Garstone oil on canvas depicting a market in Monaco signed verso, modern needlework pictures, a framed National Geographic map of Asia, approximate size 117cm x 90cm including frame, picture frames etc
Lot 80
Lithograph on wove paper printed on an ochre tint stone after an original drawing by Pablo Picasso. Entitled Bacchanale II, this exuberant scene depicts a smiling Bacchus whose frontal nudity morphs with the Bacchante who appears in absolute ecstasy. A piper plays music to the joyful scene that Picasso completed with saccades of broken and continuous black lines. This lithograph was used as the front cover to Fernand Mourlot's Picasso Lithographe, Tome III, 1949-1956. Artist: After Pablo Picasso (Spain, 1881-1973)Dimensions: 9"L x 12"HCountry of Origin: SpainCondition: Age related wear.
Lot 147
A Murano art glass sculpture by celebrated Italian artist Loredano Rosin (1936€“1991), renowned for his innovative approach to glass artistry and as one of the few maestros to work with pulegoso glass, a technique that incorporates tiny air bubbles to create a unique texture. This visually compelling piece features two intertwined nude figures, abstractly rendered in a dynamic array of swirling colors, including rich tones of blue, green, yellow, and violet. One figure is depicted with a head, enhancing the sculpture's emotive and thought-provoking design. The figures are mounted on a clear rectangular glass base, with the artist's signature etched on the side. The piece also bears the distinctive Murano Glass acid mark. Weighing approximately 24 lbs, this sculpture demonstrates Rosin's mastery of form, color, and light, making it a standout addition to any modern art collection. Loredano Rosin was born in Venice, Italy, in 1936 and trained under the legendary Murano master Alfredo Barbini. He quickly gained recognition for his exceptional talent and developed a signature style that blended traditional glassmaking techniques with abstract modernist aesthetics. Rosin was one of the last Murano glassmakers to use solid glass sculpting techniques, often crafting works with profound emotional depth and symbolic resonance. His work frequently explored themes of human connection, nature, and spirituality, often characterized by the use of vivid colors and dynamic forms. Rosin collaborated with other iconic artists, including Pablo Picasso and Marc Chagall, creating glass interpretations of their designs. His work has been exhibited in galleries and museums worldwide and remains highly sought after by collectors of 20th-century Italian art and Murano glass. Artist: Loredano Rosin (Italian, 1936-1992)Issued: c. 1970Dimensions: 10.5"L x 5"W x 24"HCountry of Origin: ItalyCondition: Age related wear.
Lot 1563
Pablo Picasso (Málaga 1881 – 1973 Mougins). „Service visage noir“. 1948Weißer Steingutteller, geritzt und bemalt auf schwarzem Grund. Durchmesser: 24,1 cm (9 ½ in.). Auf der Unterseite beschriftet: EDITION PICASSO H. Dort auch die beiden Stempel MADOURA PLEIN FEU und D’APRES PICASSO.Ramié 43.–Eines von 100 Exemplaren. Dieses Exemplar hat, anders als im Werkverzeichnis angegeben, keine grüne Glasierung. [3692]Zustandsbericht: Schöner harmonischer Gesamteindruck. Die Oberfläche durch das Brennen mit minimalen Unregelmäßigkeiten. Am Tellerrand unten mittig eine punktuelle Unregelmäßigkeit in der Glasur. Unten links an der Tellerkante eine winzige Oberflächenabplatzung. Rückseitig am Tellerrand fünf winzige Oberflächenabplatzungen.Wir berechnen für Privatpersonen innerhalb der EU auf den Hammerpreis 32% Aufgeld, welches die Mehrwertsteuer beinhaltet. Käufer, die außerhalb der EU angesiedelt sind und das Werk aus der EU exportieren zahlen 27% Aufgeld. Für EU-Unternehmer, die zum Vorsteuerabzug berechtigt sind, kann die Regelbesteuerung angewendet werden. Für zusätzliche Informationen lesen Sie bitte §4 unserer Versteigerungsbedingungen.
Lot 1561
Pablo Picasso (Málaga 1881 – 1973 Mougins). „Homme accoudé et à demi agenouillé sur une chaise devant (ou pensant à) une femme“. 1968Radierung und Kaltnadel auf Velin. 22,3 × 17,8 cm (37,2 × 31,2 cm) (8 ¾ × 7 in. (14 ⅝ × 12 ¼ in.)). Signiert.Baer 1724 B.b. (von C).–Eines von 50 numerierten Exemplaren. Blatt 228 der Folge: 347 Gravures. Paris, Edition Galerie Louise Leiris, 1969. [3606]Zustandsbericht: Ex. 7/50. Schöner harmonischer Gesamteindruck. Die Blattkanten ohne Einrisse oder Fehlstellen. Der rechte Blattrand partiell beschnitten. Das Papier unregelmäßig leicht gebräunt. Insbesondere entlang des rechten Randes das Papier stellenweise mit winzigen Stockflecken. Technikbedingt innerhalb des Plattenrandes schwach gewellt.Wir berechnen für Privatpersonen innerhalb der EU auf den Hammerpreis 32% Aufgeld, welches die Mehrwertsteuer beinhaltet. Käufer, die außerhalb der EU angesiedelt sind und das Werk aus der EU exportieren zahlen 27% Aufgeld. Für EU-Unternehmer, die zum Vorsteuerabzug berechtigt sind, kann die Regelbesteuerung angewendet werden. Für zusätzliche Informationen lesen Sie bitte §4 unserer Versteigerungsbedingungen.
Lot 1562
Pablo Picasso (Málaga 1881 – 1973 Mougins). „Picador“. 1952Krug, roter Ton mit oxidierter Paraffinbemalung, glasiert. Höhe: 12,9 cm (5 ⅛ in.). Ramié 162.–Eines von 500 Exemplaren. Vallauris, Edition Madoura, 1952. [3692]Zustandsbericht: In gutem Zustand. Keine Substanzverluste. Die Oberfläche durch das Brennen mit minimalen Unregelmäßigkeiten. Schöner harmonischer Gesamteindruck.Wir berechnen für Privatpersonen innerhalb der EU auf den Hammerpreis 32% Aufgeld, welches die Mehrwertsteuer beinhaltet. Käufer, die außerhalb der EU angesiedelt sind und das Werk aus der EU exportieren zahlen 27% Aufgeld. Für EU-Unternehmer, die zum Vorsteuerabzug berechtigt sind, kann die Regelbesteuerung angewendet werden. Für zusätzliche Informationen lesen Sie bitte §4 unserer Versteigerungsbedingungen.
Lot 1616
HAP Grieshaber (Rot a. d. Rot 1909 – 1981 Achalm b. Reutlingen). „Hommage à Picasso“. 1972Farbholzschnitt auf BFK Rives-Velin. 41,8 × 30 cm (65,3 × 50,1 cm) (16 ½ × 11 ¾ in. (25 ¾ × 19 ¾ in.)). Signiert.Fürst 72/86.–Einer von 30 römisch nummerierten Abzügen aus einer Gesamtauflage von 120 Exemplaren. Ein Blatt aus der Mappe: Hommage à Picasso (Vol. 3). Berlin/Rom, Propyläen Verlag / Pantheon Presse, 1972. [3125]Zustandsbericht: Ex. XXIV/XXX. Schöner harmonischer Gesamteindruck. Die Blattkanten ohne Einrisse oder Fehlstellen. Das Papier im Passepartout-Ausschnitt leicht gebräunt. Sehr vereinzelt hauchfeine Dellen. Rückseitig in den unteren beiden Blattecken braune Papierklebebandreste. Hier mit Papierklebeband auf den Unterkarton montiert.Wir berechnen für Privatpersonen innerhalb der EU auf den Hammerpreis 32% Aufgeld, welches die Mehrwertsteuer beinhaltet. Käufer, die außerhalb der EU angesiedelt sind und das Werk aus der EU exportieren zahlen 27% Aufgeld. Für EU-Unternehmer, die zum Vorsteuerabzug berechtigt sind, kann die Regelbesteuerung angewendet werden. Für zusätzliche Informationen lesen Sie bitte §4 unserer Versteigerungsbedingungen.
Lot 10
(ARR) Julian Trevelyan (British, 1910-1988) Ponte VecchioEtching and aquatintLimited edition Artist's ProofSigned, numbered & titled in pencil Mounted, framed & glazed A founding member of the British Surrealist Group, Julian Trevelyan (1910–1988) was at the centre of a defining moment in British 20th century art. He was an original participant of the Mass Observation project and embraced a wide variety of styles from surrealism to realism and abstraction. After contributing to Britain’s first Surrealist statement, Trevelyan abandoned Cambridge for Paris in 1931 where he worked in Stanley William Hayter’s printmaking studio with Alberto Giacometti, André Masson, Pablo Picasso and Joan Miró. His early work was influenced by these artists as well as Max Ernst and Paul Klee, but he went on to develop his own unique style.Measures approx. 40cmx 50cm (16" x 20").
Lot 91
(ARR) Ray Wooldridge (British, b. 1934)PierrotMixed acrylic media on boardFramed Ray Wooldridge was born in London in 1934. He studied Art at Camberwell college of Art. In 1973 he decided to leave his appointments as Art Direcotr, and to devote all his time to Art, developing a style which is undoubtedly his own. T are a number of influences apparent in his work, including Picasso, Art Nouveau, Chagall and the colorists, yet all these combine to create an individual and distinguishable style. A constant source of inspiration for wooldridge is the theater particularly the Italian and French theater, and this is apparent in many of his works. The Artist is anthused with the colorful costumes, the settings and the atmosp of mystery the theater generates. Backstage happenings are perhaps of greater intrest to the artist as upstage ones, and this interest helps explain not only the subject matter but also the characters that dominate Wooldridges works. The figures often appear to be lost in their own worlds, existing not in the real worlds, nor in the imaginary one of stage. It seems as though the artist meant to capture the single, evasive moment, w the actor is not yet himself and no longer the character he plays. Wooldridge's compositions are always simple and uncluttered, usually dominates by female figures some of them familiar to the artist, some of them are literary, given tangible reality. These figures are elongated and graceful, romantic and mysterious. T is an obvious love of pattern, especially apparent on backgrounds and clothes, w vegetal and scroll like motifs abound. Color plays an important role in the overall design. Deep reds, pinks, yellows and blues harmoniously blend together and are expressively used by the artist. Zebra One Gallery, London Royal Academy, Summer Exhibition, London Graeham Dowling Contemporary Art, London Century Galleries, Oxon Portland Gallery, Manchester Cadahy Gallery, Verginia, U.S.A Isis Gallery Manhassett, N.Y, U.S.A Eric Schindler Gallery, Verginia, U.S.A Decker Studious of Greenwich, Conneticut, U.S.A Ghent Arts Festival, Verginia, U.S.AVirgina Beach Arts Festival, Virginia U.S.A.Measures approx. 49cm x 42cm (19" x 16.5").
Lot 28
After Pablo Picasso (Spain, 1881-1973)Theatre, c.1980sLithograph on Arches paperNo. 103/500Signed & 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. 37cm x 28cm (14.5" x 11").
Lot 65
Pablo Picasso (1881-1973) & Henri Matisse (1869-1954). A collection of ten vintage screenprints after the artists. Including a serigraph after the 1951 Vallauris Exposition, a screenprint after La Ronde de Jeunesse, a screenprint after Minotaure embrassant une Femme, after Le Chevelure, etc. All unframed, some light edgewear. All unframed.Each measures approx. 69cm x 45cm.
Lot 20
(ARR) Julian Trevelyan (British, 1910-1988) Florence at NightEtching and aquatintLimited edition number 88 of 100Signed, numbered & titled in pencil Mounted, framed & glazed A founding member of the British Surrealist Group, Julian Trevelyan (1910–1988) was at the centre of a defining moment in British 20th century art. He was an original participant of the Mass Observation project and embraced a wide variety of styles from surrealism to realism and abstraction. After contributing to Britain’s first Surrealist statement, Trevelyan abandoned Cambridge for Paris in 1931 where he worked in Stanley William Hayter’s printmaking studio with Alberto Giacometti, André Masson, Pablo Picasso and Joan Miró. His early work was influenced by these artists as well as Max Ernst and Paul Klee, but he went on to develop his own unique style.Measures approx. 40cm x 50cm (16" x 20").
Lot 100
Ink and pigments on paper.It shows a beautiful still life, presided over by the central image of a glass vase filled with white and yellow chrysanthemums in bloom, which creates a compositional triangle with the two fruit bowls arranged on either side, containing appetizing pears and apples of vibrant yellow. The background, created with a palette of cool dark colours, purples, blues and greys, gives greater prominence to the vivid flowers and fruit, directing the viewer's gaze towards them. The chromatic palette used, together with the loose brushstrokes and the elements without contours, have clear fauvist influences, which inevitably evoke the blue period of Pablo Picasso, among others. Likewise, the work shows a strong and undoubtedly personal character, visible in the outline of the petals, the morphology of the fruits, and the multiple lines arranged in the background, which reveal Fengmian's calligraphic discipline during his training, thus creating a unique fusion between traditional Chinese aesthetics and European pictorial currents. Signed and stamped ‘???’ in the left margin. Size painting: 70 x 70 cm; Size with frame: 83 x 84 cmAttached is a certificate issued by Gerald Markowtz, grandson of the artist. Provenance:- Hong Kong private collection. 1977, Lin Fengmian fled to Hong Kong where he gave the work to a friend, in whose collection it remained for generations until its final sale.- Current private Spanish collection (to the present day). References: - Christie's. Fine Chinese Modern and Contemporary Ink Paintings. Lot 1084: Lin Fengmian ‘Dahlia’. 02 Dec. 2022. - Sotheby's. Beyond Legends: Modern Art Evening Sale. Lot 1044: Lin Fengmian ‘Still life’ April 18, 2021- The MET. Asian Art Collection. Accession Number: 1986.267.375 ‘Gladioli’. Catalogue note:Lin Fengmian was born in Guandong province in the year 1900, and has a childhood marked by a traumatic event, the sale of his own mother into slavery. Shortly afterwards, a fortuitous chance event changed his life completely, as his lottery ticket won; with it, he travelled to Shanghai and later to France, thus receiving a complete artistic education, which marked his personal style. Over the years, and thanks to his constant work and undoubted talent for painting, he managed to make a name for himself on the international art scene, which was cut short during the Sino-Japanese war and the Cultural Revolution, for which he had to destroy a large part of his work and suffer a period of imprisonment. All the vicissitudes he suffered did not put an end to his passion for art, and that is why he left China in 1977 to settle with his family in Hong Kong, where his production did not cease, even attempting, on occasions, to recreate the first paintings he had to destroy. Lin Fengmian died in 1991 in Hong Kong at the age of 90. Notice to interested bidders. Please complete the premium registration in our auction room for this lot. Please contact us at: info@subastasdarley.com or (0034) 960 46 16 88
Lot 202
Original monochrome lithograph on paper by Lithuanian painter and sculptor Arbit Blatas, remembered as the youngest member of the 1930s Paris School. Entitled Hommage a l'Ecole de Paris, Blatas portrays fellow artist Pablo Picasso from direct observation. Signature in graphite on lower right: Arbit Blatas. Edition number on lower left: 52/350. Housed in a silver color wooden frame and a white mat. Sight size: 10"L x 14.75"H. Frame dimensions: 16.50"L x 21.25"H x 1"W. Artwork can be unframed and rolled for shipment. Artist: Arbit Blatas (Lithuanian, 1908-1999)Issued: 1962Dimensions: See DescriptionEdition Number: 52 of 350Country of Origin: LithuaniaCondition: Age related wear.
Lot 35
A collection of miniature fragrances in a glazed display case to include Nina Ricci L'Air de Temps', Gres Cabochard, Nocturnes de Caron, Carolina Herrera, Reviens Worth, Ralph Lauren, Imagine, Paloma Picasso and Ted Lapidus Creation. Location:Condition:Some bottles are full, some partially filled and a few are empty.
Lot 35
After Pablo Picasso (Spain, 1881 - 1973)"Bouquet a la pomme" (22-1-1956)White earthenware clay, decoration accentuated with oxidized paraffin, oxides under glaze.Signed with impressed manufacturer's mark to underside 'Madoura Plein Feu Empreinte Originale de Picasso'. This work is from the edition of 400 produced by Madoura Pottery.Diameter: 9 7/8 x 1 in.
Lot 153
RAPA NUI LIZARDMAN FIGURE, EASTER ISLANDtangata moko toromiro wood, obsidian, boneHeight 68.5 cmold no.'D.35.23-3' in white paint under the ring. This inscription refers to a loan made to the Musée d'Ethnographie du Trocadéro, Paris in 1935. This object once had an Kichizo Inagaki base, now lost.ProvenancePaul Eluard and André Breton, ParisEtude Bellier, Paris, 2 July 1931, lot 162René Gaffé, BrusselsChristie's, Paris, 8 December 2001, lot 10LiteraturePortier, A. and Poncetton, F., Décoration océanienne, Paris, 1931, pl.IOrliac, C., Botanical Identification of 200 Easter Island Wood Carvings, 2007, table 2Biro, Y., Hourdé, C.-W., and Rolland, N., Surréalisme: Zones de contact, Paris, 2024, p.12ExhibitedParis, Musée d'Ethnographie du Trocadéro, Ile de Pâques - Exposition de la mission Franco-Belge en Océanie, 21 June - 30 October 1935Footnotes:Paul Éluard and André Breton first met in Paris in March 1919. Breton, along with fellow writers, Philippe Soupault, and Louis Aragon, had recently started a new surrealist magazine, Littérature. Impressed by what the shy Éluard read to them on the occasion, they invited him to contribute to the next edition of the magazine. Breton and Éluard became close friends. In 1924, exactly 100 years ago, Breton published his first Surrealist manifesto along with Éluard and fellow writers Louis Aragon, André Breton, Robert Desnos, Jacques Baron, Jean Carrive, René Crevel; the photographer Jacques-André Boiffard and the artist Georges Malkine. Claiming to be the successors of the legacy of Guillaume Apollinaire who had first used the term 'surrealism' in 1917, they sought to allow the free expression of the unconscious mind. The arts of the Pacific would play an important role in the Surrealist movement. Breton had purchased his first object of 'primitive art', an Easter Island sculpture, with money given to him by his parents in 1913 for passing a school exam. The arts of the Pacific best represented the revolution of artistic perception the Surrealists sought with its variety and unexpected visual appearance. On a map entitled 'The World at the Time of Surrealism', published in the Belgian avant-garde magazine Variétés, countries were accorded a size relative to their importance in the eyes of the surrealists with Pacific islands at the centre - Easter Island appears as large as the continent of south America. As Yaëlle Biro points out in her article in Contact Zones: Africa, Oceania, and North America as Sites of Dialogue and Friction Surrealism (p.10) Breton would explain later in the preface to his catalogue Océanie in 1948 the surrealist preference for Oceanic over African arts. The latter he described as realists, anchored in materiality, far removed from Surrealist preoccupations, while the former are spiritual and poignant, with the potential to spark both dreams and desire. In 1931, reputedly due to financial difficulties, Breton and Éluard organised a sale of 'Sculpture d'Afrique, D'Amérique, d'Océanie' at the Hotel Drouot. The sale was planned to coincide with the opening of the Exposition coloniale internationale in Paris. Pacific objects dominated with six lots from Easter Island. Charles Ratton bought the Easter Island rei-miro for 3,500 francs and René Gaffé acquired the two Easter Island moko for 6,200 and 3,800 francs respectively, one of them being the present lot. Ahead of the sale Gaffé had also bought directly from Breton, his uli figure. Yaëlle Biro (op.cit., p.10) points out that Breton, Éluard and other members of the Surrealist movement, were not merely participating in the burgeoning market for non-Western objects in Europe, but were actively shaping it. Their involvement in the market, their large scale selling at auction and influence on the descriptions in auction catalogues, contributed to the dynamism in the market and the shaping of the Western narrative on such works. René Gaffé, a Belgian bibliophile, collector and journalist, had made a fortune in the perfume industry and had formed an important collection of Cubist and Surrealist works by painters such as de Chirico, Braque, Picasso and Miró, as well as important Oceanic and African art. Many of the paintings and other works he acquired through Breton and Éluard who acted as dealers. Gaffé loaned works to the International Surrealist exhibition in London in 1936 and the following June organised two exhibitions at the Zwemmer gallery in London with works from his collection - Joan Miró and Chirico – Picasso. Forty of the exhibited paintings were acquired by Roland Penrose, the artist, historian and poet, for £6,750, a very modest price at the time. For years Gaffé supported Breton and Éluard financially, buying objects for them when they were in need. His debt to them he acknowledged in his A la Verticale: Reflections of a Collector, published in 1963. 'It is, I believe, quite rare for a collector to move, spontaneously, from one school to another out of an appetite for knowledge. It is more natural for someone to point him a direction that could lead him on the path of new discoveries. André Breton and Paul Éluard helped me in this first step. Indeed, they had brought together carefully selected Cubist works with the most moving statues from black Africa and the Pacific. Without much explanation, they led me into an area that was still little explored at the time and revealed to me its truth. Breton had written that it was impossible for him to conceive of a spiritual joy other than as a breath of fresh air! What had immediately impressed me was discovering the science of taste they both shared when encountering objects that conveyed feeling. They never bought anything mediocre and, prodigiously inspired, had succeeded in transforming an apartment, which, without their expertise, would have been banal.' His friendship is clear from a dedication written by Breton: 'To René Gaffé, whose active friendship has never ceased to be of the greatest help to surrealism. August 1, 1932.' Gaffé retired to the south of France in the mid 1950s with his wife, Jeanne where they lived surrounded by their collection. Gaffé sold his important collection of Dadaist and Surrealist books in Paris in 1956. After Gaffé's death in 1968 his wife kept the collection intact until her own death in 2001 when the collection, including the present lot, was sold for the benefit of UNICEF, in accordance with the terms of his will. Moko miro or Moai tangata moko are hybrid beings, half man and half lizard. They are only known in the form of wood carvings and do not appear on petroglyphs or carved on rongo rongo tablets. Michel and Catherine Orliac, writing about moai tangata moko (in Treasures of Easter Island: Collection of the congregation of the Sacred-Hearts of Jesus and Mary SS.CC, Paris, 2008, p.145 ) explain that the term moai moko coined by Routledge is less appropriate than their preferred term, moai tangata moko; moai describing all anthropomorphic and zoomorphic carvings of Easter Island, moko being 'lizard' and tangata referring to human figure which forms the lower body. Their function was reported to Wihelm Geiseler in 1882 as being clubs intended to protect the entrance of houses. According to Alfred Métraux (Ethnology of Easter Island, Honolulu, 1940, p.265) during the inauguration of a house the images of lizard-men were placed on each side of the door to protect the entrance and were also brandished before the enemy (from the next world) to repulse their attacks. Certainly, some of the smaller examples are pierced on the spine for suspension and may hav... For further information on this lot please visit Bonhams.com
Lot 43
NAGO FIGURE, REPUBLIC OF BENINbocio wood, rope, locks, keys, metal, feathers, clay, sacrificial patinaHeight 23 cmProvenanceAnne & Jacques Kerchache, ParisLiteratureKerchache, J. et al., Vaudou, Paris, 2011, p.136, p.203, fig.2, and p.226, fig.15ExhibitedParis, Fondation Cartier pour l'art contemporain, Vaudou, Paris, 5 April - 25 September 2011Footnotes:'For Primitive Art and notably for Vodun, there is only one person, and that is Jacques Kerchache' André MalrauxKerchache first visited Bénin (then Dahomey) in the 1960s where he met Vodun priests and was initiated into its cults. He started to form what would become an unprecedented collection. This lifetime's passion was exhibited at the Fondation Cartier pour l'art contemporain in 2011, as Kerchache himself had requested before his death in 2001. In Kerchache's own words: 'A 'fetish' is a sacred object which embodies the spirit or the force of a god, It is not, strictly speaking, a representation or a portrait of the god, but rather an object that is a receptacle of the god's power.''The practice of Vodun has always been confined to an intellectual elite. Its objects or fetishes can only act once they have been rendered sacred. They are the material signs of divine affirmation and their longevity depends on their use.''Picasso never knew the art of Vodun and yet there are astonishing affinities between his artwork and the works of these committed artists, works that are provocative on an aesthetic as well as a magical level. The contemporary artists that have come into contact with such art have quite naturally been fascinated by the extraordinary questions they raise. Vodun art contains all of these things at once: a constant connection between the aesthetic and the sacred, the perfect creation of a sort of three-dimensional ideogram taken to its extreme, an art of subversion in which everything signifies, a process that is surprisingly modern and highly inventive, an experimentation in form, as well as a stab at humour on an aesthetic level.' 'At the head of the Dahomean pantheon is Mawu, the supreme god, who is surrounded by adjunct gods grouped together in a sometimes hierarchical pantheon. The great nature gods are accompanied by an entire spectrum of deified beings: clan ancestors, monsters, the aborted foetuses of royal families, the gods of conquered tribes that have been incorporated or even purchased, such as the serpent of Ouidah.''In addition to this collective aspect, Vodun may also be used for individual aggressive or defensive purposes, as a means of neutralizing or protecting oneself from an adversary.''The vodun are protectors of property: enclosures surrounded by palm branches, objects topped with a small mound of sand, knotted grasses are clear signs that touching any of these objects will anger the vodun who has been called upon to watch over them. They also protect the villages from devastating plagues. During purification ceremonies that are held once a year, devotees take part in huge processions that travel across the land to symbolically drive away potential diseases.' Kerchache, J., Vodun: African Voodoo, Paris, 2011, pp.14,19-20Lot to be sold without reserve.For further information on this lot please visit Bonhams.com
Lot 44
FON FIGURE, REPUBLIC OF BENINbocio wood, rope, skull, jawbone, lock, feathers, clay, sacrificial patinaHeight 28 cmProvenanceAnne & Jacques Kerchache, ParisLiteraturePicasso, Afrique état d'esprit, Paris, 1995, pp.46-47 Kerchache, J. et al., Vaudou, Paris, 2011, p.42, fig.7, pp.76-77, and p.206, fig.9ExhibitedParis, Centre Georges Pompidou, Picasso: Afrique état d'esprit, 8 November 1995 - 8 January 1996Paris, Fondation Cartier pour l'art contemporain, Vaudou, Paris, 5 April - 25 September 2011Footnotes:Gabin Djimassé describes the function and use of this figure (lot 44) as follows: 'This work is a two-faced (man and woman) wooden sculpture displaying the following elements: three pegs, and animal jaw with teeth, a cord, an animal skull, a closed lock without a key, poultry feathers, and a sacrificial patina. This composition represents a form of kpodohonme that is used to prevent reactions or actions that the user considers to be premature or undesirable. The purpose of the two upper pegs inserted into the ears of the sculpted face is to ensure that the person or people targeted by the request remain absolutely silent. The wooden peg inserted into the genital area is used to keep the person against whom this object was designed from using that part of the body.'Gabin describes the use of the pegs: 'To use the statuette the peg must be taken out of the groove and the cord partially unwound; then, as the mission is intoned, the cord must be wound back around the object and the peg put back into the groove. To finish, one spits finely-chewed atakun (Guinea pepper) seeds onto it and then sprays the whole thing with an alcoholic drink or water, depending on the mission to be accomplished'. (Kerchache, J. et al., Vaudou, Paris, 2011, p.206)For further information on this lot please visit Bonhams.com
Lot 243
A collection of art and other books to include, The Complete Etchings of Goya, first edition with a foreword by Aldous Huxley, published by Crown Publishers, New York, 1943; The Posters of Picasso, first edition with an introduction by Joseph K. Foster, published by Crown Publishers, New York, 1957; Souvenir of the Charing Cross Hospital Bazaar, first edition, published by The Nassau Press, London, 1899; Goya to Gaugin, published by Skira; and The Whole Works of Flavius Josephus, first edition, published in 1785. H.38 W.25cm (largest).
Lot 218
Pablo PICASSO (1881-1973), d'après. Portrait de Jacqueline. Affiche originale pour l’exposition " Un demi-siècle de livres illustrés " à la Galerie Matarasso Du 21 décembre 1956 au 31 janvier 1957, Nice (Jacqueline de profil) - Devaye impr., Cannes. J.Berto, Marseille Editeur.70 x 50 cm environ (Czwiklitzer 126.) 86 x 66,5 cm avec le cadre.
Lot 158
PABLO PICASSO1881 Málaga - 1973 Mougins'MODELE NU ET SCULPTURES' (1933/1965) aus: Suite Vollard Lithografie auf festem Papier, nach Original-Radierung. SM 39 x 29 cm. (R. 56,5 x 46,5 cm). Unten rechts mit Bleistift bez. 'Picasso', unten links nummeriert '24/50' sowie mit verblasstem Stempel 'Galerie Maeght Paris 65'. Part. leicht stockfleckig; Rahmen part. besch. Im Passepartout und hinter Glas gerahmt (ungeöffnet).
Lot 161
PABLO PICASSO (NACH)1881 Málaga - 1973 Mougins'FEMME ET ENFANT' Farblithografie auf Arches, mit Wasserzeichen. DM 49,5 x 40 cm, BM 70,5 x 54 cm. (R. 77,5 x 60 cm). Im Druck signiert, datiert sowie unten mittig bez. 'Henri Deschamps Lith.'. Leicht gebräunt, Montierungsbedingt hellere Flecken in den Ecken. Hinter Glas gerahmt (ungeöffnet). Provenienz: Privatsammlung Ruhrgebiet.
Lot 162
PABLO PICASSO (NACH)1881 Málaga - 1973 Mougins'FEMME NUE AU BONNET TURC' Farblithografie auf Velin. DM 50 x 38,5 cm, SM 75 x 51 cm. (R. 80,5 x 56,5 cm). Im Druck signiert und bez. 'Henri Deschamps Grav. Lith.' und 'Mourlot Impr. 74', unter der Darstellung gedruckt bez. 'Pablo Picasso - Femme Nue Au Bonnet Turc' und 'Copyright S.P.A.D.E.M. Paris 1974'. Part. mit hellen Flecken, leicht lichtrandig. Hinter Glas gerahmt (ungeöffnet). Provenienz: Privatsammlung Ruhrgebiet.
Lot 156
PABLO PICASSO1881 Málaga - 1973 MouginsKONVOLUT VON 4 RADIERUNGEN AUS 'LA CELESTINE' (1968) Jew. Radierung auf Velin, mit Wasserzeichen 'La Celestine'. DM 8,8 x 12,3 cm / 13,6 x 10,7 / 8;9 x 12,2 cm / 8. (R. jew. 31,5 x 25,5 cm). Unsigniert. Vereinzelt minimalst fleckig, leicht gebräunt. Jew. im Passepartout und hinter Glas gerahmt (teilw. ungeöffnet). Provenienz: Privatsammlung Ruhrgebiet.
Lot 157
PABLO PICASSO (NACH)1881 Málaga - 1973 Mougins'SUITE VOLLARD' Portfolio mit 100 Faksimilegrafiken auf handgeschöpftem Bütten von Richard Bas, Ambert, in Original-Leinenkassette. Verschiedene Druckmaße, BM 44,5 x 32 cm, Kassette. Kassette mit gedruckter Künstlersignatur, Trockenstempel 'Plitt', Exemplar '98/3000'. Copyrightvermerk der VG Bild-Kunst Bonn 1990 sowie jew. Bloch-Nr. Verso: Part. minimalst am Rand gebräunt. Herausgegeben vom Städtischen Museum Mühlheim an der Ruhr in Zusammenarbeit mit dem Förderkreis des Museums 1992. Auf 3000 Exemplare limitierter Nachdruck der 'Suite Vollard'. Nummerierung auf dem Vorspannblatt, Nachdruck und Papierformat gegenüber der Originalausgabe geringfügig verkleinert. Expertise: Privatsammlung Sauerland. Provenienz: 6,5 cm.
Lot 155
PABLO PICASSO (NACH)1881 Málaga - 1973 MouginsBLATT AUS 'PORTRAITS IMAGINAIRES' Farblithografie. SM 61,5 x 48 cm (R. 96 x 80 cm). Im Stein signiert, datiert und bez., unten links mit Bleistift bez. und num. 'F 238/250'. Verso: Part. min. best., ansonsten in sehr gutem Zustand. Im Passepartout und hinter Glas gerahmt (ungeöffnet). Expertise: Privatsammlung Berlin. Provenienz: 3,5 cm.
Lot 154
PABLO PICASSO1881 Málaga - 1973 Mougins'COLOMBE VOLANTE' (1952) Farblithografie auf Arches, mit Wasserzeichen. SM 49,5 x 64,5 cm. (R. 70 x 83,5 cm). Im Druck signiert und datiert. Verso: Rückseitig mit Klebeetikett Kunsthandlung Kokerbeck, Bielefeld. Min. gebräunt, vereinzelt min. mit hellen Flecken. Im Passepartout und hinter Glas gerahmt (ungeöffnet).
Lot 193
Pablo Picasso (1881-1973)Reclining Man in Turban and Belly Dancer (Bloch 1458)Etching with drypoint, 1968, with the artist's stamped signature, numbered from the edition of 50 in pencil, on BFK Rives paper, with full margins, image 223 x 322mm (8 3/4 x 12 5/8in); sheet 378 x 472mm (15 x 18 1/2in)
Lot 319
A selection of hardback and other books, primarily relating to art and nature, titles including: A Life of Picasso, by John Richardson; Techniques of the Impressionists, by Anthea Callen; The New Concise British Flora, by W. Keble Martin; Realms of the Russian Bear, by John Sparks; and others, two boxes.
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